IN TWO SECTIONS— SECTION ONE
Entered as second-class matter January 4, 1921, at the post office at New York, New York, under the act of March 3, 1879.
Harrison's Reports
Yearly Subscription Rates: 1270 SIXTH AVENUE Published Weakly by
United States $15.00 m ,019 Harrison's Reports, Inc..
U. S. Insular Possessions. 16.50 ROOm 10" Publisher
Canada 16.50 New York, N. Y. P. S. HARRISON, Editor
Mexico, Cuba, Spain 16.50 . ,, , _ . .
Great Britain 15.75 A Motion Picture Reviewing Service F_H„hf, ,
Australia, New Zealand, Devoted Chiefly to the Interests of the Exhibitors Established July 1, 191J
India, Europe, Asia .... 17.50
n r^rw Its Editorial Policy: No Problem Too Big for Its Editorial Circle 7-4622
60c a. copy Columns, if It is to Benefit the Exhibitor.
A REVIEWING SERVICE FREE FROM THE INFLUENCE OF FILM ADVERTISING
Vol. XXI SATURDAY, JANUARY 7, 1939 No. 1
The Television Problem in Motion Picture Theatres — No. 5
Q. 10 : How near is television reception in the
home ?
A. Television reception in the home is practi-
cally here. In England, a television broadcasting
service has been offered for almost two years, and
is beginning to receive serious public notice. In the
United States, such a- service is scheduled to start
in New York either in April or May, 1939, when
two, (and possibly three), stations will have been
completed in the New York City area and will be
ready to begin sending out programs, although on
a limited scale for the time being. Each of the two
larger stations will have a sending apparatus of
about 7,500 watts. A similar station is planned for
a point between Albany and Schenectady.
The pictures in the home are fairly bright and
clear, even though they possess some of the limita-
tions mentioned elsewhere in this series of articles.
At present the size of the picture is between three
by four inches, and seven and one-half by ten
inches. For general home use, the larger sizes of
the commercially acceptable receivers are desirable.
The cost of the sets range anywhere between
$150 and $400, or more, the price depending on
how large is the picture and what extra features are
included in the receiver.
Up to the present the programs have been largely
experimental, the purpose being to determine the
reaction in the home. It is certain that, if the pres-
ent broadcasting setup in this country continues,
the programs will have, in the main, advertising
sponsors. Such programs will, therefore, contain
advertisements, both in the sound and in the pic-
ture. But these programs will in no way be competi-
tive to the theatre film entertainments, by reason of
the fact that only short subjects will, as said, be
broadcast, of a duration probably anywhere from
fifteen to twenty minutes, and of inferior quality
as compared with good picture entertainment in
the theatres.
Television is a challenge to the motion picture
industry; but whether it will injure it or benefit it
lies entirely in the hands of exhibitors as well as
of the producers. Wise story selection, improved
production methods, honest distribution systems,
perfect projection, efficiency as well as economy —
these are a definite and satisfying answer to the
television threat. But if the industry neglects to
keep up with the times, it may be injured by this
new art. Let it learn a lesson from the experience
the railroads have had : if the railroads, instead of
disregarding, and even insulting, the public, had
made the improvements that they are now making,
they would not be exerting frantic efforts now to
lure the public back to railroad travel. They disre-
garded tlie automobile, minimized the competition
from the bus, and laughed at the passenger plane;
but when they woke up, they found themselves on
the verge of bankruptcy. The motion picture in-
dustry may, despite its advantages, suffer the same
fate, unless new blood with new ideas are poured
into, not only exhibition, but also distribution, as
well as production.
Let the motion picture industry beware !
THE PRODUCER MEMORANDUM
—LAST ARTICLE
"2. Trade Announcement."
This is, of course, nothing but blind-selling in disguise.
"Each distributor," the memorandum says, "will make gen-
eral announcement at or prior to the beginning of each of
its seasons, containing such information as it may be prac-
ticable to give of all pictures completed or actually in pro-
duction then intended for release during such season, and of
any other pictures then intended for release during such
season, it being understood that the completion of such pic-
tures actually in production and the making of such other
pictures which it is intended to produce are subject to the
hazards and uncertainties of the business and they may not
be completed or produced, as planned."
The proposal offers nothing. It is a reiteration of what
the producers are doing now and have been doing for sev-
eral years. It is no cure for the obnoxious blind-selling
system. Allied asked that the number of pictures to be can-
celled by small exhibitors be raised to thirty per cent when
such pictures are not identified in the contract, but the pro-
ducers have not granted it.
"3. Exhibitor's Limited Playing Time : When a number
of pictures is offered for license to an exhibitor by a distri-
butor and the exhibitor refuses to license such number on
the sole ground that by reason of the minimum number of
pictures agreed to be exhibited under the license agree-
ments theretofore entered into by such exhibitor it is im-
possible under such exhibitor's operating policy to play the
entire number offered, then such distributor will offer to
such exhibitor such lesser number of pictures as may be
agreed upon or determined by arbitration as the maximum
number of pictures that could be played by such exhibitor,
provided that distributor shall always have the right at any
time before or after making such offer to such exhibitor to
solicit or license all or any of its pictures to any other
exhibitor."
Whoever framed this clause had better go back to school
for additional lessons in composition. The provisions in the
contracts and in any other documents that the producers'
legal talents composed when it concerned exhibitors have
always been either ambiguous, or obscure, or both, but this
proposal transcends anything that I have ever read.
The best meaning that I can extract out of it is this :
when an exhibitor cannot buy a producer's entire product
because he has no room for it, then the distributor will
offer to the exhibitor as fewer pictures from his entire
group as the exhibitor and he may agree upon. It it under-
stood, however, that the distributor retains the right at all
times to license his entire group, if he can, to some other
exhibit »r.
The exhibitor demand for the right to buy some pictures
from a distributor's entire group has arisen from the fact
that, under the system whereby an exhibitor has to buy a
producer's entire group or be without them, that is. under
the block-booking system, the exhibitor often found himself
in an embarrassing position, because the public could not
understand why he could not show certain meritorious pic-
tures. But this proposal docs not help him at all. Suppose he
{Continued on last pane)
2
HARRISON'S REPORTS
January 7, 1939
"Topper Takes a Trip" with Constance
Bennett and Roland Young
(United Artists, January 12; time, 80 min.)
This fantastic comedy, which is a sequel to the first
"Topper" picture, is only mildly entertaining. Those who
saw the other one will find little in this to entertain them,
for the comedy is caused in the same way — that is, hy the
materialization and dematerialization of one of the charac-
ters and of her dog; what was novel then is just slightly
boresome now. In the very beginning, parts of the old pic-
ture are used in order to explain to those who did not see it
what the whole thing is about — during those scenes Cary
Grant appears. The fact that he does not appear later is to
the picture's detriment, for he is missed. Moreover, none of
the other players are strong box-office attractions.
In the development of the plot. Miss Bennett comes back
to earth because she felt her work had not been completed.
Reading that Roland Young's wife (Billie Burke) was di-
vorcing him because of his escapades with her on her for-
mer visit to earth, Miss Bennett decides to help him. Young,
remembering the trouble Miss Bennett had caused him, begs
her to go away, but she refuses. They follow Miss Burke to
Paris where, in company with a friend (Verree Teasdale),
she had gone for her divorce. Naturally Miss Bennett em-
barrasses Young when in public places, but invisible to the
public, she pushes him around causing him to stumble. Find-
ing out that an impoverished Baron was trying to marry
Miss Burke for her money, she suddenly appears in his
room, making it look as if she were on intimate terms with
him. Miss Burke is shocked. Finally, through Miss Ben-
nett's efforts, Young and Miss Burke are reconciled. Feel-
ing that her work was completed, Miss Bennett prepares
to leave the earth to join her husband.
Thorne Smith wrote the story, and Eddie Moran, Jack
Jevnc, and Corey Ford, the screen play; Norman Z. Mc-
Leod directed it, and Milton H. Bren produced it. In the
cast are Alan Mowbray, Franklin Pangborn, Alexander
D'Arcy, and others.
Not particularly suitable for children. Suitability,
Class B.
"Trade Winds" with Fredric March
and Joan Bennett
( United Artists, December 22 ; time, 93l/> min.)
Just a fair comedy-melodrama. The story is extremely
thin and unbelievable ; one of its weakest points is the fact
that, for the sake of comedy, the detective is made dumb.
His actions lack comedy ; as a matter of fact they are so
silly that they tend to weaken the story dramatically. The
background, with the exception of just a few interior sets,
is made up of processed shots of different foreign ports ;
this might be acceptable to patrons who enjoy travelogues,
btu the average audience may resent it. At times the action
lags, particularly in the romantic scenes ; the most exciting
part of the picture is the end, where the hero traps the mur-
derer. The romance is developed in the routine way : —
Overcome with grief at the suicide of her sister, Joan
Bennett goes to see the man (Sidney Blackmer) responsi-
ble for it. In a jesting mood, he hands her a gun asking her
to shoot him, and that is just what she does. Thinking that
she had killed him, she runs away. Blackmer's body is found
by the police, with Miss Bennett's purse near it. The police
inspector decides to send Fredric March, a private detective,
in search of Miss Bennett ; knowing March's weakness for
pretty girls, he sends Ralph Bellamy, a sober, serious but
rather silly detective, along with March. Their search
takes them to many foreign ports ; March finally catches up
with Miss Bennett. They fall deeply in love with each
other, and everything is serene until Miss Bennett finds out
who March is. March pleads with her to have faith in him ;
he even shows willingness to give up his career just to pro-
tect her. But, since the police knew where March was, and
had ordered Miss Bennett's arrest, March insists on taking
her back himself, pretending that he was doing so just for
the $100,000 reward offered by Blackmer's father. Miss
Bennett is disgusted, not knowing that March wanted to
use the money to obtain proof of her innocence. Through a
ruse, he finally accomplishes this, proving that Miss Ben-
nett had used a gun with blanks, and that the jealous hus-
band of one of Blackmer's women friends, who had wit-
in i d the scene, had entered and actually killed Blackmer.
Miss Bennett and March are joyfully reunited.
Tay Garnett wrote the story and directed the picture ;
Dorothv Parker, Alan Campbell, and Frank R. Adams
wrote the screen play, and Walter Wanger produced it. In
the cast are Ann Sothern, Thomas Mitchell, Robert Elli-
ott, and others.
Suitability, Class B.
"Pacific Liner" with Victor McLaglen,
Chester Morris and Wendy Barrie
(RKO, January 6 ; time, 75 min.)
A pretty depressing program melodrama. Most of the
action takes place in the boiler and engine rooms oi a large
ocean-going liner, where the crew, some of whom were suf-
fering from cholera contracted from a Chinese stowaway,
are kept virtual prisoners so as to prevent the disease from
spreading. There is not much movement, and just slight
comic relief; everything centers around the trapped m"n
and their reactions to their misfortune. Spectators with
delicate stomachs may shudder at the sight of the men
putting dead bodies into the furnaces to be burned, this
being done as a means of precaution ; also at the unpleasant-
ness of watching men collapse one by one, having contracted
the disease. A romance has been worked into the plot, but
it does not help matters much. No fault can be found with
the individual performances; it is just that the material
lacks dramatic power. The character that is impersonated
by McLaglen is egotistical : —
A Chinese stowaway is discovered by Victor McLaglen,
chief engineer of a large passenger liner bound for San
Francisco, who insists on putting him to work. But the man
collapses ; upon examining him, Chester Morris, the ship's
doctor, discovers that the man was suffering from cholera.
He dies; his body is burned in the furnace. Morris issues
orders that no man was to leave his post, so that the disease
would not spread to the passengers. Ho sets to work trying
U) prevent the men from contracting the disease, but he has
a difficult time. McLaglen, who was infatuated with Wendy
Barrie, the ship's nurse, suggests that she visit Morris,
knowing that once she was down below she would not be
permitted to return to her own quarters, and he would thus
have a chance to make love to her. She helps Morris, with
whom she was in love, but from whom she had parted be-
cause of his incurable desire to wander all over the world.
When McLaglen is stricken, the remaining memb',r« of the
crew try to revolt and leave the boiler room, but McLaglen
gets out of his sick bed in time to prevent them. Finally the
ship gets to port, without any of the passengers realizing
what had happened; McLaglen recovers. Miss Barrie
finally agrees to marry Morris.
Anthony Coldeway and Henry R. Symonds wrote the
story, and John Twist, the screen play ; Lew Landers di-
rected it, and Robert Sisk produced it. In the cast are Alan
Hale, Barry Fitzgerald, Allan Lane, Halliwcll Hobbes,
and others.
Too depressing for children. Adult fare. Class B.
"The Girl Downstairs" with Franchct Tone,
Franciska Gaal and Walter Connolly
(MGM, December 23 ; time, 76 min.)
Just a mildly entertaining comedy. The production is
extremely lavish, but the story is artificial, tiring one. It
seems a pity to waste the talents of good actors like Fran-
chot Tone and Walter Connolly in anything so silly as this,
for, in spite of their efforts, they are so handicapped by the
material that they fail to make an impression. One or two
spots provoke laughter ; but for the most part the antics of
the characters are far from amusing : —
Franchot Tone, a wealthy playboy, is in love with Rita
Johnson, daughter of millionaire Connolly, who opjwses the
match. Connolly orders his servants not to allow Tone to
enter the house. But Tone, determined to outwit Connolly,
makes friends with the scullery maid (Franciska Gaal), the
one servant who did not know who he was. He pretends to
be his own chauffeur ; Miss Gaal, an unsophisticated coun-
try girl, falls madly in love with him. When she arrives at
his apartment with a note from Miss Johnson, Tone carries
on the deception ; a friend visiting him pretends to be the
master and "discharges" Tone. Thinking she had been the
cause of it all, Miss Gaal invests her savings to buy a
dilapidated taxicab so that Tone might earn a living.
Touched by her kindness, he takes her out again ; he then
realizes that he loved her. She learns of the deception when
Tone arrives at a party given to celebrate his engagement
to Miss Johnson ; she did not know that he planned to break
the engagement. She leaves the house so as to go back to
her farm home ; Tone, in order to prevent her from leaving,
enters a charge against her with the police. They find her at
the station and arrest her ; Tone obtains her release. They
are reconciled.
Sandor Hunyady wrote the story, and Harold Goldman,
Felix Jackson and Karl Noti, the screen play ; Norman
Taurog directed it, and Harry Rapf produced it. In the cast
are Reginald Gardner, Reginald Owen, Franklin Pang-
born, and others.
Suitability, Class A.
January 7, 1939
HARRISON'S REPORTS
3
"Gambling Ship" with Robert Wilcox
and Helen Mack
(Universal, January 20; time, 61 min.)
A good program melodrama. Although the story is not
novel, it holds one's attention well for the action is fast and,
for the most part, exciting. It has some comedy, too, caused
by wisecracking. Both hero and heroine win the spectator's
sympathy, for they show courage in the face of danger. The
closing scenes are thrilling. The romance is pleasant: —
Heartbroken at her father's death, Helen Mack decides
to continue in his business, that of operating an honest
gambling ship, in order to keep an orphans' home supplied
with money in accordance with her father's wishes. Fur-
thermore, from what she could learn from her father's
assistant (Joseph Sawyer), Miss Mack feels certain that
her father had been killed by Irving Pichel, a racketeer, who
had tried unsuccessfully to buy the ship. Pichel engages
Robert Wilcox, who had come to him highly recommended,
as one of his henchmen. He assigns Wilcox to Miss Mack's
ship. Wilcox, acting in accordance with instructions, assists
Pichel's men in fixing the gambling tables so that they
would win and thus break Miss Mack. When Sawyer and
Miss Alack find out what he had done, they order him off
the ship. Wilcox, on the pretense of attempting to blackmail
Pichel, gets him to call at his hotel room. Wilcox had
planted a motion picture camera in the radio so as to make
a record of everything that Pichel would do and say. Pichel
finds out that Wilcox was a federal investigator ; assisted
by his henchmen, he takes Wilcox to his quarters, where he
keeps him a prisoner. But Wilcox, knowing that Pichel's
men had placed a bomb on Miss Mack's ship, where that
very day she was entertaining the children from the orphan-
age, manages to escape and get to the ship just in time to
prevent the explosion. Miss Mack and Sawyer apologize
for having mistrusted him. Miss Mack confesses her love
for him.
G. Carleton Brown and Emanuel Manheim wrote the
story, and Alex Gottlieb, the screen play ; Aubrey Scotto
directed it, and Irving Starr produced it. In the cast are
Ed Brophy, Selmer Jackson, Sam McDaniel, and others.
Not for children. Class B.
"Paris Honeymoon" with Bing Crosby,
Akim Tamiroff, Franciska Gaal, Shirley
Ross and Edward Everett Horton
(Paramount, January 27 ; time, 85 min.)
Just fair. It has been given a lavish production ; and the
individual performances are good. But not much can be said
for the story, which is extremely silly and at times tiresome.
Supposedly a comedy, the gags fall flat, that is with the
exception of one comical idea — this has to do with a certain
liquor that makes those who drink it act in a peculiar way.
Bing Crosby puts over the musical numbers in his custom-
ary competent style; but the songs are not outstanding.
The romantic mixups are developed according to formula,
and fail to hold one's interest : —
Crosby, a millionaire cowboy, learns, on the day of his
intended marriage to Shirley Ross, that her divorce from a
French Count to whom she had been married, had never
gone through. Both he and Miss Ross go to Paris, there to
complete the divorce proceedings. Crosby leaves Miss Ross
in Paris in order to look over a castle in the mountains that
he wanted to buy. Franciska Gaal, who worked as a drudge
in Akim Tamiroff's tavern, spies Crosby and falls in love
with him. She is overjoyed when she is chosen as the Rose
Queen for the annual festival. One of the customs required
her to live, for one week, in the castle occupied by Crosby.
She tries in many ways to win his affections but he con-
siders her a nuisance. Crosby drives to the station to meet
Miss Ross; he is annoyed to find Miss Gaal hidden in his
car. She interferes with his driving, causing the car to be
wrecked. Since it was raining, they are forced to take shelter
in an unoccupied cabin. In the meantime, Miss Ross is en-
raged when Crosby does not show up. The only available
vehicle is an open cab; she is drenched when she arrives at
the castle. Being alone with Miss Gaal makes Crosby notice
her charms ; he falls in love with her. Nevertheless he de-
cides to go through with his marriage to Miss Ross. They
go back to Paris. But he cannot go through with it ; he re-
turns to the small village in time to stop Miss Gaal's mar-
riage to Tamiroff, who wanted to marry her only to get the
expensive ring Crosby had given her. She is overjoyed at
his arrival.
Angela Sherwood wrote the story, and Frank Butler and
Don Hartman, the screen play; Frank Tuttle directed it,
and Harlan Thompson produced it. In the cast arc Ben
Blue, Rafaela Ottiano, Gregory Gayc, Victor Kilian, and
others. Suitability, Class A.
"Tom Sawyer, Detective" with Billy Cook
and Donald O'Connor
(Paramount, December 23 ; time, 67 min.)
A fair program picture, suitable mostly for young folk.
Billy Cook, as Tom Sawyer, and Donald O'Connor, as
Huckleberry Finn, give good performances ; their actions
at times provoke laughter. One is held in suspense in the
second half, when an innocent man is held for a murder he
did not commit. A mildly pleasant romance is worked into
the plot.
Because of the fact that the United Artists picture re-
cently released was called "Adventures of Tom Sawyer,"
exhibitors will have to impress upon their patrons the fact
that this is not a remake but an entirely new story ; other-
wise, they may not want to see it.
While on the steamboat bound for Arkansas, where they
were to spend the summer with an aunt (Elisabeth Risdon)
and uncle (Porter Hall), Tom and Huckleberry meet Jake
Dunlap (William Haade) who, they believed, was a jewel
thief. They discover that Jake was the long-missing twin
brother of Jupiter Dunlap (also played by Haade), who
worked as a hired man on their uncle's farm. Jake convinces
them that he was not a crook but that the two men following
him were crooks ; the boys help him escape. During an
argument with Jupiter, Uncle Silas (Hall) strikes him;
thinking that he had killed him, he runs away. While walk-
ing in the woods, Tom and Huckleberry see Jake attacked
and murdered by the two men from the boat ; they run away.
Jupiter and his brother Brace find their murdered brother ;
noticing that he wore whiskers as a disguise, Brace removes
them and tells Jupiter to wear them and pose as Jake. They
take the diamonds. When Jake's body is found and identified
as Jupiter's, Uncle Silas gives himself up. Tom and Huckle-
berry decide to investigate for themselves ; they examine
the body and discover it was really Jake's. On the day of the
trial, they rush to court and divulge their findings. Jupiter
admits his identity and tells the court that Brace forced him
into the mess. Brace had been angry at Uncle Silas because
he would not permit his daughter, who was engaged to a
young lawyer, to marry Brace. Uncle Silas is freed, and the
boys are congratulated for their good work.
The plot was adapted from the novel by Mark Twain ;
Lewis Eoster, Robert Yost, and Stuart Anthony wrote the
screen play ; Louis King directed it. In the cast are Philip
Warren, Janet Waldo, Raymond Hatton, and others.
Suitability, Class A.
"Kentucky" with Loretta Young, Richard
Greene and Walter Brennan
(20th Century-Fox, December 30; time, 95 min.)
Very good mass entertainment. It is not just an ordinary
horse-racing picture ; rather, it shows, in a human way,
what the breeding and racing of thoroughbreds means to
those who carry on the family tradition of racing and who
have a natural love for the animal. In addition, the produc-
tion is lavish and is enhanced by the technicolor photog-
raphy, particularly in the outdoor scenes during the races.
There is delightful comedy contributed mostly by Walter
Brennan, a charming romance, and plentiful thrills to hold
the spectator in suspense. The race in the closing scenes is
so exciting that it leaves one limp.
In the development of the plot, Richard Greene, whose
family had been feuding with Loretta Young's family since
Civil War days, assumes another name and applies at Miss
Young's farm for a job as horse trainer. The only one who
knows him is an old negro man who had formerly worked
for his family, but Greene silences him with gifts. Miss
Young, who had found a note in her father's belongings
after his death, signed by Greene's father (Moroni Olsen),
wealthy banker and owner of thoroughbreds, which entitled
him to one of Olsen's two-year old horses, goes with her
uncle (Brennan) to get the horse. To her disappointment
he picks one that does not look like a winner to her. But
after careful training by Greene, the horse begins to show
possibilities. On the day of the important Kentucky Derby
race. Miss Young discovers Greene's identity and is beset
by doubts as to his honesty in training the horse ; she thinks
that he might have had some trick up his sleeve so that his
father's horse would win. But she decides to follow his ad-
vice anyway. And her horse wins. Her delight is marred by
the death of Brennan, whose heart could not stand the
excitement. The feud is finally declared over when Greene
and Miss Young plan to marry.
John T. Foote wrote the story, and he and Lamar Trotti,
the screen play ; David Butler directed it, and Gene Markcy
produced it. In the cast are Douglas Dumbrille, Karen
Morley, Willard Robertson, and others.
Suitability, Class A.
4
HARRISON'S REPORTS
January 7, 1939
buys enough pictures from three distributors to take care of
his needs with the exception of a few play-dates : when he
goes to a fourth distributor to book an outstanding picture
of his, that distributor will require the exhibitor to fill all
his remaining play-dates before he will let the exhibitor
have the picture he wants. But what will he tell his public
when a fifth, a sixth and even a seventh distributor will
have produced a meritorious picture and he cannot show it ?
This discussion refers to cases, not where the fourth dis-
tributor has an opportunity to lease his entire product to a
second exhibitor, but where there is no second exhibitor to
lease his pictures to.
The exhibitor representatives should demand that, where
there is no competitive theatre, the exhibitor be allowed to
lease any number of a distributor's pictures. There have
been cases when an exhibitor had filled all his play-dates
from the programs of a few distributors and a left-out
distributor retaliated either by sending to the people of the
exhibitor's town circulars designed to cause the public to
bring pressure on such exhibitor, or by renting his pictures
to either a school or a church. The exhibitor could not
persuade such distributor to desist by telling him that he
had no room for his pictures ; the distributor remained
adamant. By allowing such exhibitor to book as many pic-
tures from a distributor as he wants, he can satisfy all
distributors.
Abuses arising out of this proposal will, of course, be
arbitrable ; but it will be well for the exhibitor representa-
tives to gain such a concession at least for theatres that
have no competition within a reasonable distance. And
"reasonable distance" should not mean forty-five miles or
thereabout.
Incidentally, some trade papers, in reproducing this pro-
posal, omitted the phrase, "to license such number on the
sole ground that by reason," immediately after the word
"refuses," in the third line. Film Daily reproduced it first,
in its December 5 issue, and since those trade papers
omitted the same number of words it is manifest that they
copied it from that Film Daily, (not Boxofficc) .
"5. Runs and Existing Customers: (A) Provided an
exhibitor and a distributor can mutually agree upon terms,
an exhibitor shall be able to obtain some run of a distribu-
tor's pictures provided that each exhibitor's theatre is not
of obsolete character, is in good condition and operates
under a policy which is not destructive or which would not
substantially affect the business of any other run of dis-
tributor's pictures and further provided that such exhibitor
is of good reputation as a theatre operator and financially
responsible. Any dispute as to whether or not the exhibi-
tor's theatre is of obsolete character, is in good condition,
is operated under a policy which is destructive or which
would substantially affect the business of any other run of
distributor's pictures or whether or not the exhibitor is of
good reputation as a theatre operator and is financially
responsible, shall be determined by arbitration.
"(B) Exhibitors have complained that distributors have
licensed their product away from an existing customer to
another exhibitor because such other exhibitor operates a
circuit of theatres in the same or other situations and
licenses the distributor's product for such circuit.
"It is recognized that a distributor has the right to select
its own customers and it is also recognized that a change
of customers is sometimes a hardship to an existing cus-
tomer, but that in order to be entitled to continue to receive
consideration as a customer, the exhibitor should have sub-
stantially performed his previous license agreements with
distributor, maintain and operate his theatre in a modern
and up-to-date manner and be financially responsible.
"Having regard for these principles, product will not be
licensed away from an existing customer to a new or an-
other exhibitor for the sole reason that the new or other
exhibitor is a customer of the distributor in the same or
other situations and any dispute as to whether or not a dis-
tributor has licensed its product away from an existing
customer for the sole reason that such other exhibitor is a
customer of the distributor in the same or other situations
shall be determined by arbitration."
This provision, too, could stand considerable clarification
by rewriting. For instance, it says that, provided the exhibi-
tor is "financially responsible," he can get some kind of run
for his theatre. Responsible financially to whom ? Does it
mean, "provided the exhibitor pays his bills"? If so, why
doesn't the provision say so? If it should be left as it is, the
exhibitor members of the negotiating committee would be
lending themselves to the revival of the credit committees,
which the courts have outlawed. Why should a group of
distributors be interested in the financial standing of the
exhibitor in his community so long as he pays his bills to
any distributor he does business with? And why should such
phraseology he necessary when the distributors send to the
exhibitor (J.O.D. even posters?
Another of the clarifications that the exhibitors should
ask of the distributors is the phraseology, "Provided an
exhibitor and a distributor can mutually agree upon terms."
Does this mean that, when the distributor places on his
product a high price so as to make an agreement impossible,
such distributor's purpose being.to favor a competing affili-
ated theatre, the exhibitor will have no right to appeal to
the arbitration board for relief? If such is the case, the
matter should be so stated, to enable the exhibitor-negotia-
tors to determine whether to accept or reject this provision.
"6. Short Subjects, Newsreels and Trailers: No exhibi-
tor shall be required, as a condition of licensing feature
motion pictures, to license short subjects, newsreels or
trailers, but nothing herein shall be deemed to prohibit any
effort by the distributor to license short subjects, newsreels
and trailers."
In view of the fact that a seller has at all times the right
to make an effort to sell his product to a buyer, a right that
is recognized in all democratic nations as lawful, the stipu-
lation "but nothing herein shall be deemed to prohibit any
effort by the distributor to license short subjects, newsreels
and trailers" is not necessary and should be eliminated.
Retention of this stipulation may lead to more abuse. The
salesmen, for instance, may misinterprete its intent, and
may try to bring pressure upon the exhibitor to buy the
shorts, newsreels and trailers, and the exhibitor may be
compelled to contract for them to get the features. The
exhibitor representatives should insist upon the elimination
of this sentence, or else require that controversies arising
out of it be arbitrated. Let arbitration determine whether
the exhibitor had been coerced or not. After all, arbitra-
tion, if fair, should determine such controversies ; otherwise
there will be no peace between exhibitors and distributors.
"14. Box-Office Statements: The practice of rendering
to a distributor false reports of the box-office receipts in
respect of the exhibition of pictures the film rental of which
is based in whole or in part upon a percentage of such
receipts is condemned by exhibitors as well as by distribu-
tors as a practice which not only results in loss of earned
revenue to the distributors, but is also unfair and detri-
mental to the business of honest exhibitors. Exhibitors will
endeavor to discourage and eliminate such practice."
This provision, if agreed upon by the exhibitor repre-
sentatives, will cast a reflection upon every exhibitor, for
it implies that the exhibitors, as a rule, render false box-
office statements. The exhibitor representatives should re-
fuse even to discuss such a matter, let alone agree upon it.
If there are some exhibitors who, when allowed to show a
percentage picture without the presence of a distributor
representative, render inaccurate statements of their re-
ceipts, it should be the good business judgment of the dis-
tributor not to allow again such exhibitors to show a pic-
ture of his under such conditions ; the distributor should
have a representative check these exhibitors. To demand
that the exhibitors acknowledge the existence of such a
practice as common is to insult every exhibitor who makes
a true statement of box-office receipts, and otherwise con-
ducts himself as an honorable business man.
The exhibitor representatives should refuse to deal with
such a matter ; it is not in their province even to discuss it.
The other proposals are not commented upon.
RAY LEWIS TO DO THINGS IN CANADA
Ray Lewis, editor and publisher of The Canadian Moving
Picture Digest, was recently in New York, on a visit. She
told the writer of the fight she has been having with Na-
thanson, the big theatre and distribution magnate.
Miss Lewis may appear as a "David" as compared with
Nathanson, but she has a "sling" that may bring the Goliath
down : she intends to lay her case directly before the public.
In view of the fact that Miss Lewis is fighting a battle,
not for herself, but for a woman-exhibitor whom, Miss
Lewis feels, Mr. Nathanson has taken unfair advantage of,
there is no doubt as to what the outcome of the fight will be.
Harrison's Reports has often advocated that the ex-
hibitors take their public into their confidence in any dispute
arising between them and a theatre-owning producer. All
the chances for a victory are in their favor.
' T " IN TWO SECTIONS— SECTION TWO
HARRISON' S REPORTS
Vpl'-XXL- NEW YORK, N. Y., SATURDAY, JANUARY 7, 1939 No. 1
(Semi-Annual Index — Second Half 1938)
Title of Pictures Reviewed on Page
Adventure in Sahara — Columbia (57 min.) 210
Affairs of Annabel, The— RKO (67 min.) 119
Alexander's Ragtime Band — 20th Century-Fox
Algiers — United Artists (95 min.) 114
Always Goodbye — 20th Century-Fox (74}/ min.) 106
Always in Trouble — 20th Century-Fox (69 min.) 163
Amazing Dr. Clitterhouse, The— 1st Nat'l. (86 min.) 115
(105 min.) 123
Angels with Dirty Faces — First Nat'l (97 min.) 179
Annabel Takes a Tour— RKO (67 min.) 174
Arkansas Traveler, The — Paramount (83 min.) 166
Army Girl— Republic (87 min.) 119
Arrest Bulldog Drummond — Paramount (56 min.) ...210
Artists and Models Abroad — Paramount (94}/ min.) . .194
Bar 20 Justice — Paramount (64}/ min.) Not Reviewed
Barefoot Boy — Monogram (63 min.) 135
Beachcomber, The — Paramount (90 min.) 207
Block-heads— MGM (56 min.) 146
Blondie — Columbia (72 min.) 186
Booloo — Paramount (60 min.) 122
Boy From Barnardo's, The— MGM (See "Lord Jeff") 107
Boy Meets Girl — Warner Bros. (86 min.) 135
Boys Town— MGM (93 min.) 151
Breaking the Ice— RKO (82 min.) 146
Broadway Musketeers — First National (62}/ min.) ..162
Brother Rat— First National (88 min.) ....170
Bulldog Drummond in Africa — Paramount (58 min.) 126
Campus Confessions — Paramount (66 min.) 154
Carefree— RKO (82 min.) 147
Chaser, The— MGM (75 min.) 126
Christmas Carol, A — MGM (69 min.) 206
Cipher Bureau — Grand National (69}/ min.) 207
Citadel, The— MGM (112 min.) 178
City Streets — Columbia (68 min.) 106
Colorado Trail, The — Columbia (55 min.) . .Not Reviewed
Come on Leathernecks — Republic (65 min.) 143
Comet over Broadway — First National (69 min.) 195
Convicted — Columbia (54 min.) 142
Cowboy and the Lady, The— United Artists (90 min.) .198
Crime Over London — Gaumont-British (62 min.) ....130
Crime Ring— RKO (69 min.) 106
Crime Takes a Holiday — Columbia (59 min.) 158
Crowd Roars, The— MGM (89^ min.) 131
Danger on the Air — Universal (66 min.) 107
Dangerous Secret — Grand National (58}/ min.) 178
Dark Rapture — Universal (79;/ min.) 163
Dawn Patrol — Warner Bros. (101 min.) 211
Desert Patrol — Republic (56 min.) Not Reviewed
Desperate Adventure, A — Republic (65 min.) 130
Down in Arkansaw — Republic (65 min.) 171
Down on the Farm — 20th Century-Fox (61 min.) ....174
Dramatic School— MGM (80 min.) 202
Drums — London Film-United Artists (96 min.) 127
Duke of West Point— United Artists (109 min.) 211
Exposed — Universal (63 min.) 187
Fast Company — MGM (74 min.) 110
Fast Play— Paramount (See "Campus Confessions") . 154
Five of a Kind— 20th Century-Fox (85 min.) 170
Flight to Fame — Columbia (57 min.) 186
Flirting with Fate— MGM (68 min.) 210
Four Daughters — First National (90 min.) 139
Four's a Crowd — Warner Bros. (90 min.) 135
Freshman Year — Universal (67 min.) 147
Fugitives for a Night— RKO (62}/ min.) 143
If I Were King— Paramount (100 min.) 162
Illegal Traffic— Paramount (67 min.) 182
I'll Give a Million— 20th Century -Fox (74 min.) 114
I'm from the City— RKO (66 min.) 127
I Stand Accused — Republic (63 min.) 179
Gang Bullets — Monogram (61 min.) 202
Gangster's Boy — Monogram (80 min.) 183
Garden of the Moon — First National (92y2 min.) 142
Gateway — 20th Century-Fox (73 min.) 134
Gay Imposters, The — Warner Bros. (See "Gold
Diggers in Paris") 90
Girls on Probation — First National (63 min.) 170
Girls' School — Columbia (72 min.) 163
Give Me a Sailor — Paramount (76 min.) 134
Gladiator, The — Columbia (72 min.) 138
Going Places — First National (83 min.) 211
Gold Mine in the Sky — Republic (60 min.) .Not Reviewed
Great Waltz, The— MGM (103 min.) 186
Gun Smoke Trail — Monogram (56 min.) .. Not Reviewed
Hard to Get— Warner Bros. (78 min.) 187
Heart of the North— First National (82 min.) 206
Held for Ransom — Grand Nat'l (59 min.) . .Not Reviewed
Heroes of the Hills — Republic (55 min.) . . .Not Reviewed
Higgins Family, The — Republic (64}/ min.) 151
His Exciting Night — Universal (60 min.) 190
Hold That Co-Ed— 20th Century-Fox (80 min.) 155
I Am a Criminal — Monogram (73 min.) 199
I Am the Law — Columbia (83 min.) 143
I Command — Grand Nat'l (59 min.) N*ot Reviewed
I Married a Spy: — Grand Nat'l (59 min.) .. Not Reviewed
Just Around the Corner— 20th Cent.-Fox (69l/2 min.) .183
Juvenile Court — Columbia (58 min.) 154
Keep Smiling — 20th Century-Fox (77 min.) 123
King of Alcatraz — Paramount (55 J-^ min.) 166
Lady Objects, The — Columbia (65 min.) 159
Lady Vanishes, The — Gaumont-British (91 min.) 171
Last Express, The — Universal (62}/ min.) 171
Last of the Cavalry, The — Republic
(See "Army Girl") 119
Last Warning, The — Universal (63 min.) 203
Lawless Valley— RKO (58}/ min.) 182
Law of the Plains — Columbia (56 min.) Not Reviewed
Law West of Tombstone, The— RKO (73 min.) 191
Letter of Introduction — Universal (102 min.) 127
Listen Darling— MGM (74^ min.) 174
Little Adventuress, The — Columbia (62 min.) 187
Little Miss Broadway— 20th Century-Fox (71 m.) . . 115
Little Orphan Annie — Paramount (57 min.) 202
Little Tough Guy— Universal (82}/ min.) 114
Little Tough Guys in Society — Universal (72 min.) 195
Lord Jeff— MGM (84^ min.) 107
Love Finds Andy Hardy— MGM (90 min.) 122
Mad Miss Manton, The— RKO (79 min.) 166
Man to Remember, A— RKO (78 min.) 166
Man with 100 Faces— Gaumont-British (71 min.) 186
Man's Country — Monogram (55 min.) Not Reviewed
Marie Antoinette— MGM (157 min.) 138
Mars Attacks the World— Universal (67y2 min.) 182
Meet the Girls— 20th Century-Fox (66 min.) 147
Men with Wings — Paramount (105 min.) 178
Missing Guest, The — Universal (67}/ min.) 138
Mother Carey's Chickens— RKO (81J4 min.) 123
Mr. Chump — Warner Bros. (60 min.) 123
Mr. Doodle Kicks Off— RKO (77 min.) 155
Mr. Wong, Detective — Monogram (68 min.) 175
My Bill— First National (63}/ min.) 110
My Lucky Star— 20th Century-Fox (84 min.) 147
Mysterious Mr. Moto— 20th Century-Fox (62}/ min.). 151
Nancy Drew, Detective — Warner Bros. (65 min.) 198
Next Time I Marry, The— RKO (64 min.) 199
Night Hawk, The— Republic (63 min.) 162
One Woman's Answer — MGM (See "Woman
Against Woman") « 106
Orphans of the Street — Republic (64 min.) 203
Outlaw Express — Universal (56 min.) Not Reviewed
Out West with the Hardys — MGM (83 min.) 203
Painted Desert— RKO (59 mia) 131
Panamint's Bad Man— 20th Century-Fox (59 min.) .. Ill
Passport Husband — 20th Century-Pox (67 min.) 111
Peck's Bad Boy with the Circus— RKO (64 min.) 195
Penrod's Double Trouble— First Nat'l. (60 min.) 114
Personal Secretary — Universal (62 min.) ..159
Phantom Gold — Columbia (56 min.) Not Reviewed
Phantom Ranger — Monogram (53 min.) ... Not Reviewed
Pioneer Trail — Columbia (55 min.) Not Reviewed
Port of Seven Seas— MGM (80 min.) 118
Pride of the West — Paramount (55 min.) ..Not Reviewed
Prison Break — Universal (72 min.) 118
Prison Train — Malcolm-Browne (65 min.) 190
Professor Beware — Paramount (92 min.) 118
Pygmalion— MGM (86 min.) 199
Racket Busters — Warner Bros. (70 min.) 122
Reformatory — Columbia (61 min.) 110
Renegade Ranger— RKO (59 min.) 154
Renfrew on the Great White Trail —
Grand National (59 min.) Not Reviewed
Rich Man, Poor Girl— MGM (71!^ min.) 139
Ride a Crooked Mile — Paramount (77 min.) 202
Riders of the Black Hill— Republic (55m) . .Not Reviewed
Road Demon — 20th Century-Fox (70 min.) 175
Road to Reno — Universal (68 min.) 150
Rollin' Plains— Grand Nat'l (57 min.) Not Reviewed
Romance and Rhythm — Warner (See "Cowboy from
Brooklyn") 102
Room Service— RKO (78 min.) 154
Safety in Numbers— 20th Century-Fox (58 min.) 139
Say It in French — Paramount (71 min.) 194
Secrets of an Actress — First National (69J/2 min.) 150
Secrets of a Nurse — Universal (74^ min.) 194
Service DcLuxe — Universal (86 min.) 174
Shadows over Shanghai— Grand Nat'l (64^ min.)... 178
Sharpshooters — 20th Century-Fox (63 min.) 190
Shining Hour, The — MGM (76 min.) 195
Shopworn Angel — MGM (84 min.) 115
Sing You Sinners — Paramount (89 min.) 134
Sisters, The— Warner Bros. (98 min.) 167
Six Shootin' Sheriff— Grand Nat'l (59m.) . .Not Reviewed
Sixty Glorious Years— RKO (94^ min.) 194
Sky Giant— RKO (80 min.) 119
Smashing the Rackets— RKO (69 min.) 130
Smashing the Spy Ring — Columbia (61 min.) 211
Sons of the Legion — Paramount (61 min.) 155
South of Arizona — Columbia (56 min.) Not Reviewed
South Riding— United Artists (84 min.) Ill
Spawn of the North — Paramount (109 min.) 142
Speed to Burn— 20th Century-Fox (61 min.) 122
Spring Madness— MGM (66jXmin.) 191
Stablemates — MGM (89 min.) ..167
Stagecoach Days — Columbia (58 min.) Not Reviewed
Storm over Bengal — Republic (65 min.) 191
Storm, The— Universal (76 min.) 179
Straight, Place and Show — 20th Cent.-Fox (67 min.). 162
Strange Boarders — Gaumont-British (71 min.) 155
Strange Case of Dr. Mead, The — Columbia (67 min.) .206
Strange Faces — Universal (66 min.) 187
Submarine Patrol — 20th Century-Fox (94 min.) 182
Suez— 20th Century-Fox (104 min.) 175
Sweethearts— MGM (113 min.) 210
Swing Sister Swing — Universal (67 min.) 207
Swing That Cheer — Universal (62 min.) 175
Tarnished Angel— RKO (68 min.) 179
Tenth Avenue Kid — Republic (65 min.) 145
Texans, The — Paramount (92 min.) 126
Thanks for Everything— 20th Century-Fox (72l/2 m.).203
Thanks for the Memory — Paramount (78 min.) 191
That Army Touchdown — Paramount
(See "Touchdown Army") 159
That Certain Age— Universal (100 min.) 167
There Goes My Heart— United Artists (83 min.) ....170
There's That Woman Again — Columbia (73 min.) . . . .206
They're Off— 20th Century-Fox
(See "Straight, Place and Show") 162
Three Blind Mice— 20th Century-Fox (75 min.).... 107
Three Loves Has Nancy — MGM (68 min.) 150
Time Out For Murder— 20th Century-Fox (59 min.) . .131
Too Hot to Handle— MGM (105 min.) 158
Torchy Gets Her Man — Warner Bros. (62 mia) 183
Touchdown Army — Paramount (70 mia) 159
Tropic Holiday — Paramount (78 min.) Ill
Two Gun Justice — Monogram (57 min.) . . .Not Reviewed
Unconventional Lady — Columbia (See "Holiday").. 91
Under the Big Top — Monogram (63 mia) 151
Up the River— 20th Century-Fox (76 mia) 190
Utah Trail, The — Grand Nat'l (59 min.) . . .Not Reviewed
Vacation from Love — MGM (65 mia) 167
Valley of the Giants — Warner Bros. (83 mia) 146
Watrted by the Police — Monogram (59 mia) 158
We're Going to Be Rich — 20th Century-Fox (78 min.) 110
Western Trails — Universal (57 min.) Not Reviewed
West of Cheyenne — Columbia (53 min.) . . . .Not Reviewed
While New York Sleeps— 20th Century-Fox (61 mia). 198
Whirlwind Horsemen — Grand Nat'l (58m.) .Not Reviewed
Woman Against Woman — MGM (60 min.) 106
You Can't Take It With You— Columbia ( 127 min.) . . .150
Young Dr. Kildare— MGM (81 min) 171
Young Fugitives — Universal (68 min.) 107
Young in Heart, The— United Artists (90 min.) 183
Youth Takes a Fling — Universal (77 mia) 163
RELEASE SCHEDULE FOR FEATURES
Columbia Features
(729 Seventh Ave., New York, N. Y.)
Flight to Fame— Farrell- Wells Oct. 12
The Little Adventuress — Fellows Oct. 24
In Early Arizona — All Star western (53m.). Nov. 2
Adventure in Sahara — Kelly-Gray Nov. 15
Blondie — Singleton- Lake Nov. 30
The Terror of Tiny Town — Midgets Dec. 1
Rio Grande— Starrett (59 min.) Dec. 8
The Strange Case of Dr. Mead — Holt Dec. 15
There's That Woman Again — Douglas Dec. 24
Smashing the Spy Ring (International Spy) —
Wray-Bellamy Dec. 29
North of Shanghai — Furness-Craig Jan. 5
The Thundering West — Starrett Jan. 12
Frontiers of '49 — All Star western Jan. 19
Lone Wolf's Daughter — William-Lupino Jan. 27
Texas Stampede — Starrett Feb. 9
Homicide Bureau — Cabot-Hayworth Feb. 15
9026
9020
9211
9028
9011
9050
9202
9022
9203
9212
9204
First National Features
(321 W. 44th St., New York, N. Y.)
369 Girls on Probation — Reagan-Bryan Oct. 22
355 Brother Rat— Morris-P. Lane-Wyman Oct. 29
351 Angels with Dirty Faces — Cagney (reset) ...Nov. 24
370 Comet over Broadway — Francis-Hunter Dec. 3
362 Heart of the North — Foran-Dickson Dec. 10
Going Places — Powell-Louise-Huber Dec. 31
Gaumont-British Features
(1600 Broadway, New York, N. Y.)
Climbing High — J. Matthews-M. Redgrave Dec. 1
(Hereafter all Gaumont-British pictures will be released
through Twentieth Ccnttiry-Fox)
Grand National Features
(1501 Broadway, New York, N. Y.)
Beginning of 1938-39 Season
311 Shadows over Shanghai — Dunn-R. Morgan . . .Oct. 14
325 Frontier Scout — G. Houston-B. Marion (61m) .Oct. 21
326 Titans of the Deep — (2 versions, one running
47 min. and the other 38 min.) Oct. 28
312 Cipher Bureau — L. Ames-J. Woodbury Nov. 4
345 The Sunset Murder Case (The Sunset Strip
Case) — Sally Rand (57 min.) Nov. 11
The Long Shot — Jones-Hunt Jan. 6
Water Rustlers — Dorothy Page Jan. 6
Trigger Pals — Jarrett-Powell Jan. 14
Exile Express — Anna Sten Jan. 20
Ride 'Em Cowgirl — Dorothy Page Jan. 20
Metro-Goldwyn-Mayer Features
(1540 Broadivay, New York, N. Y.)
904 Listen Darling — Garland-Bartholomew Oct. 21
909 The Citadel— Donat-Russell-Richardson Oct. 28
908 The Great Waltz — Rainer-Gravat-Korjus ...Nov. 4
911 Spring Madness — O'Sullivan-Ayres-Hussey .Nov. 11
912 The Shining Hour— Crawford- Sullavan Nov. 18
913 Out West with the Hardys — Rooney-Stone . . .Nov. 25
914 Flirting with Fate — Joe E. Brown Dec. 2
915 Dramatic School — Rainer-Marshal-Goddard .Dec. 9
917 A Christmas Carol — Owen-Kilburn (re.) Dec. 16
916 The Girl Downstairs (Katherine the Last) —
Gaal-Tone-Connolly (reset) Dec. 23
910 Sweethearts — MacDonald-Eddy-F. Morgan ..Dec. 30
918 Stand Up and Fight — Taylor-Beery-Rice Jan. 6
919 Burn 'Em Up O'Connor— O'Keefe-Parker . . . Jan. 13
920 Idiot's Delight— Gable- Shearer Jan. 20
Monogram Features
(1270 Sixth Ave., New York, N. Y.)
3860 Where the Buffalo Roam— Ritter (62 min.) . .Oct. 12
3801 Gangster's Boy — Jackie Cooper Nov. 9
3851 Gun Packer— Jack Randall (49m.) (reset) .. Nov. 16
3818 Gang Bullets— Anne Nagel (reset) Nov. 23
3861 Song of the Buckaroo (Little Tenderfoot) —
Tex Ritter (56 min.) Nov. 23
3812 I Am a Criminal — J. Carroll (reset) Dec. 14
3852 Wild Horse Canyon (Last Outlaw) — Jack
Randall (50 min.) Dec. 21
3819 Tough Kid— Frankie Darro (reset) Dec. 28
Convict's Code — Nagel-R. Kent Jan. 11
Drifting Westward — Jack Randall Jan. 25
Sundown on the Prairie — Tex Ritter Feb. 1
Navy Secrets — Wray-Withers Feb. 8
Paramount Features
(1501 Broadzwy, New York, N. Y.)
3807 Mysterious Rider— Dumbrille-Fields (72m.) .Oct. 21
3808 Men with Wings — MacMurray Oct. Special
3809 Illegal Traffic— Naish-Carlisle Nov. 4
3810 If I were King — Colman-Dee-Rathbone Nov. 11
3811 Thanks for the Memory — Hope-Ross Nov. 18
3812 Arrest Bulldog Drummond — Howard-Angel. Nov. 25
3813 Say It in French— Bradna-Milland Nov. 25
3814 Little Orphan Annie— Gillis-Kent Dec. 2
3815 Ride a Crooked Mile — Tamiroff-Farmer ....Dec. 9
3856 The Frontiersman — Boyd-Hayes (73l/2m.) . .Dec. 16
3816 Tom Sawyer, Detective — O'Connor-Cook Dec. 23
3817 Artists and Models Abroad— Benny Dec. 30
King of Chinatown — Wong-Tamiroff-Naish. .Jan. 6
Zaza — Colbert-Marshall-Lahr Jan. 13
Disbarred — Patrick-Kruger-Preston Jan. 20
Ambush — Swarthout-Nolan-Henry Jan. 20
Paris Honeymoon — Crosby-Gaal-Tamiroff ..Jan. 27
St. Louis Blues — Nolan-Lamour-Ralph Feb. 3
One Third of a Nation — Sidney-Erikson (re). Feb. 10
Republic Features
(1776 Broadivay, Nezv York, N. Y.)
806 I Stand Accused — Cummings-Mack-Talbot ...Oct. 28
807 Storm over Bengal — P. Knowles-Cromwell . . Nov. 14
863 Santa Fe Stampede — Three Mesq. (56 min.) . . Nov. 18
818 Come On Rangers — Rogers-Hart (58 min.) ..Nov. 25
841 Western Jamboree — Autry (56 min.) Dec. 2
819 Orphans of the Street — Livingston-Ryan Dec. 5
864 Red River Range— Three Mesq. (56 min.) ...Dec. 22
852 Shine On Harvest Moon— Rogers-Hart (57m). Dec. 23
Federal Man Hunt — Livingston-Travis (64m). Dec. 26
RKO Features
(1270 Sixth Ave., New York, N. Y.)
906 The Mad Miss Manton— Stanwyck-Fonda Oct. 21
907 Tarnished Angel— Filers Oct. 28
981 Lawless Valley — George O'Brien Nov 4
908 Annabel Takes a Tour— Ball-Oakie Nov. 11
909 The Law West of Tombstone— H. Carey .... Nov. 18
948 Peck's Bad Boy with the Circus— Kelly Nov. 25
910 Next Time I Marry— Ball-Ellison Dec 9
Twentieth Century-Fox Features
(444 w. S6th St., New York, N. Y.)
913 Suez— Power- Young-Annabella Oct. 28
914 Always in Trouble — Withers Nov. 4
915 Just Around the Corner — Temple Nov. 11
916 Sharpshooters — Donlevy-Bari Nov. 18
909 Submarine Patrol — Greene- Kelly Nov. 25
918 Road Demon — Arthur-Valerie- Armetta Dec. 2
924 Up the River — Martin-Brooks-Foster Dec. 9
920 Down on the Farm — Jed Prouty Dec. 16
917 Thanks for Everything — Menjou-Oakie Dec. 23
923 Kentucky — Young-Greene-Brennan Dec. 30
922 While New York Sleeps — Whalen-Rogers Jan. 6
928 Charlie Chan in Honolulu — Toler-Brooks Jan. 13
926 Mr. Moto's Last Warning — Lorre-Cortez Jan. 20
933 Smiling Along — Fields-Maguire-Livesey Jan. 20
921 Jesse James — Power-Fonda-Kelly Jan. 27
929 The Arizona Wildcat— Withers-Carrillo Feb. 3
925 Tail Spin— Faye-C. Bennett-Kelly-Farrell . . . Feb. 10
927 The Three Musketeers — Ameche-Ritz Bros. ..Feb. 17
United Artists Features
(729 Seventh Ave., Neiv York, N. Y.)
The Young in Heart — Gaynor-Fairbanks, Jr Oct. 27
The Cowboy and the Lady — Cooper-Oberon Nov. 17
Trade Winds — March-J. Bennett-Sothern Dec. 22
The Duke of West Point— T. Brown-Hayward Dec. 29
Topper Takes a Trip — C. Bennett-Young-Burke ..Jan. 12
Universal Features
(1250 Sixth Ave., New York, N. Y.)
A3052 Guilty Trail— Bob Baker (57 min.) Oct. 21
A3013 Service DeLuxe— C. Bennett-Price Oct. 21
A3016 The Storm— Bickford-MacLane-Grey Oct. 28
A3028 The Last Express— K. Taylor-D. Kent ....Oct. 28
A3032 Exposed — Farrell-Kruger Nov. 4
A3053 Prairie Justice — Bob Baker (57 min.) Nov. 4
A3036 His Exciting Night — Ruggles-Munson Nov. 11
A3042 Mars Attacks the World— (67H min.) ...Nov. 18
A3011 Little Tough Guys in Society — Boland Nov. 25
A3035 Strange Faces — Kent-Jenks (reset) Dec. 2
A3022 Secrets of a Nurse — Lowe-Mack (reset) ..Dec. 9
A3054 Ghost Town Riders— Bob Baker (54 min.) .Dec. 16
A3021 Swing Sister Swing — Murray-Downs-Kane.Dec. 16
Newsboys' Home — J. Cooper-W. Barrie
(73 min.) Dec. 23
A3027 The Last Warning — Foster-Jenks (reset) . .Jan. 6
Son of Frankenstein — Karloff-Rathbone ...Jan. 13
A3055 Honor of the West— Bob Baker (58 min.) . Jan. 13
Gambling Ship — Wilcox-Mack Jan. 20
Pirates of the Skies — K. Taylor (reset) ...Feb. 3
You Can't Cheat an Honest Man —
W. C. Fields-Bergen Feb. 17
Warner Bros. Features
(321 IV. 44th St., New York, N. Y.)
302 The Sisters — Flynn-Davis-Louise Oct. 15
310 Hard to Get— Powell-DeHavilland Nov. 5
318 Torchy Gets Her Man — Farrell-MacLane ...Nov. 12
319 Nancy Drew, Detective — Granville-Litel Nov. 26
The Dawn Patrol — Flynn-Rathbone-Niven . . . Dec. 24
Devil's Island — Karloff-Harrigan Jan. 7
Thev Made Me a Criminal — Garfield-Rains . . Jan. 14
Off the Record— O'Brien-Blondell Jan. 21
King of the Underworld — Bogart-Francis Jan. 28
SHORT SUBJECT RELEASE SCHEDULE
Columbia — One Reel
9503 Little Moth's Big Flame— Color Rhap. (8m.) Nov. 3
9802 Ski Rhythm— Sport Thrills (9^m.) Nov. 4
9652 Community Sing No. 2 — (10£<m.) Nov. 4
9551 Bermuda, Islands of Paradise — Tours
(10K> min.) Nov. 4
9752 Happv Birthday — Scrappys (6m.) Nov. 17
9552 Provincial Quebec— Tours (lO^rn.) Nov. 18
9901 Washington Parade— Issue 81 (10m.) Nov. IS
9853 Screen Snapshots No. 3— (9j4m.) Nov. 20
9504 Midnight Frolics— Color Rhapsody (7$-Sm.) .Nov. 24
9653 Community Sing No. 3— (lO^m.) Dec. 2
9703 The Lone Mountic— Krazy Kat (6^m.) ....Dec. 10
9854 Screen Snapshots No. 4 — (9^m.) Dec. 15
9505 The Kangaroo Kid — Color Rhapsody Dec. 23
9803 King Vulture— Sport Thrills Dec. 23
9654 Community Sing No. 4—(\0'/2m.) Dec. 30
9804 Get Ready Navy— Sport Thrills Jan. 6
9902 Washington Parade — Issue #2 Jan. 6
9855 Screen Snapshots No. 5 Jan. 6
9753 Scrappy's Added Attraction — Scrappys Jan. 13
9506 Peaceful Neighbors — Color Rhapsody Jan. 26
9704 Krazy's Bear Tale — Krazy Kat Jan. 27
9655 Community Sing No. 5— (9Hm.) J an. 27
(9553 "Dig Town," listed in the last Index as a December 2
release, has been withdrawn)
Columbia — Two Reels
9125 Shoot to Kill— Spider #5 (17m.) Nov. 18
9126 Scaled Lips— Spider 86 (16^m.) Nov. 25
9127 Shadows of the Night— Spider 87 (16^m.) . .Dec. 2
9403 Flat Foot Stooges (Three Goofy Gobs) —
Stooge (15J-4 min.) (reset) Dec. 5
9128 While the City Sleeps— Spider Jt8 (16^m.) . .Dec. 9
9426 Home on the Rage— All Star (17m.) Dec. 9
9129 Doomed— Spider 89 (17m.) Dec. 16
9130 Flaming Danger— Spider 810 (17m.) Dec. 23
9427 Pica la Maid— All Star (18m.) Dec. 23
9131 Road to Peril— Spider 811 (16m.) Dec. 30
9132 The Spider Falls— Spider 812 (15m.) Jan. 6
9404 Three Little Sew and Sews — Stooge (16m.) . .Jan. 6
9133 The Man Hunt— Spider 813 (16m.) Jan. 13
9134 The Double Cross— Spider 814 (17^m.) ...Jan. 20
9428 Swing You Swingers— All Star (19^m.) ...Jan. 20
9135 The Octopus Unmasked— Spider 815 ( 15m.) Jan. 27
Challenge in the Sky — Flying G-Men 81 Jan. 28
Flight of the Condemned — Flying G-Men 82. . Feb. 4
9429 Mutiny on the Body— All Star comedy Feb. 10
Metro-Goldwyn-Mayer — One Reel
1937- 38 Season
S-715 Grid Rules— Pete Smith (10m.) Oct. 15
W-692 The Captain's Christmas — Capt. Cartoon
technicolor (8 min.) Dec. 17
{one more to come)
1938- 39 Season
F-952 Opening Day — Robert Benchley (9m.) .. . .Nov. 12
M-874 Miracle of Salt Lake — Miniatures (11m.). Nov. 12
C-933 Football Romeo— Our Gang (10m.) Nov. 12
S-902 Man's Greatest Friend— P. Smith (10m.) . .Nov. 19
T-854 Sydney, Pride of Australia— Travel. (9m.). Dec. 3
F-953 Mental Poise— Benchley (7m.) Dec. 10
S-903 Penny's Picnic— Pete Smith (tech) (10m.). Dec. 17
C-934 Practical Jokers — Our Gang (9m.) Dec. 17
T-855 Singapore and Jahore — Traveltalk (9m.) . . .Dec. 31
Metro-Goldwyn-Mayer — Two Reels
Beginning of 1938-39 Season
R-801 Men of Steel— Musicals (21m.) Dec. 17
P-811 The Wrong Way Out — Crime Doesn't Pay
(17 min.) Dec. 24
R-802 Once Over Lightly— Musicals Dec. 31
V8-4
E8-4
R8-5
T8-4
A8-5
L8-3
K8-3
P8-5
V8-5
R8-6
T8-5
E8-5
C8-3
A8-6
P8-6
J8-3
Paramount — One Reel
Raising Canines — Paragraphic (9^m.) Nov. 11
A Date to Skate — Popeye cart. (7m.) Nov. 18
Super-Athletes — Sportlight (9^m.) Nov. 25
On with the New — Betty Boop (6m.) (re.) ..Dec. 2
Hal Kemp and His Orchestra — Head. (9m.) .Dec. 2
Unusual Occupations 83 — (10m.) Dec. 2
Costa Rica — Color Cruises (9m.) Dec. 2
Paramount Pictorial 85— (8>lm.) Dec. 9
Oh Say, Can You Ski— Para. (10^m.) . . . .Dec. 16
Frolicking Frogs — Sportlight (9M>m.) Dec. 23
Pudgy in Thrills and Chills — B. Boop
(S>/2 min.) (reset) Dec. 23
Cops Is Always Right — Popeye (7m.) Dec. 30
Always Kickin' — Color Classic Jan. 6
A Song Is Born — Headliner (9j^m.) Jan. 6
Paramount Pictorial 86 Jan. 6
Popular Science 83 Jan. 6
RKO — One Reel
94303 Bird Dogs — Sportscope (10m.) Nov. 4
94603 Dude Ranch— Reelism (9m.) Nov. 11
94204 Venetian Moonlight— Nu Atlas (11m.) Nov. 25
94104 Ferdinand the Bull— Disney (8m.) Nov. 25
94304 Blue Grass — Sportscope (10m.) Dec. 2
94105 Merbabies— Disney (9m.) Dec. 9
94604 Newsreel— Reelism (10m.) Dec. 9
94205 Cafe Rendezvous— Nu Atlas (10m.) Dec. 23
94106 Mother Goose Goes Hollywood — Disney
(8 min.) Dec. 23
94305 On the Wing— Sportscope— (10m.) Dec. 30
RKO — Two Reels
93104 March of Time— (18m.) Nov. 25
93402 A Clean Sweep— E. Kennedy (17m.) Dec. 2
93502 Prairie Papas— Ray Whitley (18m.) Dec. 16
93105 March of Time— (18m.) Dec. 23
93602 Romancing Along — Headliner (21m.) Dec. 30
9202
9522
9102
9504
9301
9505
9204
9523
9402
9506
9203
9524
9602
9507
Twentieth Century-Fox — One Reel
Filming Big Thrills— Adv. Cam. (9^m.) . . .Sept. 30
The Glass Slipper — Terry-Toon (6^m.) ....Oct. 7
Land of Contentment — L. Thomas (lOj^m.) . .Oct. 14
The New Comer — Terry-Toon (6^m.) ....Oct. 21
Timber Toppers — Sports (lO^rn.) Oct. 28
The Stranger Rides Again — T.-Toon (7m.). Nov. 4
Athletic Oddities— Adv. Cam. (9m.) Nov. 11
Housewife Herman — Terry-Toon (6^m.) . . Nov. 18
What Every Girl Should Know — Lehr (11). Nov. 25
Village Blacksmith — Terry-Toon (6^4m.) . . .Dec. 2
Daily Diet of Danger — Adv. Cam. (9m.) Dec. 9
Gandy Goose in Doomsday — Terry-Toon . . . .Dec. 16
Fashion Forecasts Dec. 23
Gandy Goose in the Frame Up — Toon (6j^m).Dec. 30
A 3366
A3242
A3243
A 3354
A 3368
A3244
A3355
A3368
A3245
A3356
A3246
A3369
A3247
A3357
A3248
A3225
A3690
A 3691
A3692
A3693
A3226
A3781
A3782
A3783
Universal — One Reel
1938-39 Season
Stranger Than Fiction 855— (9y2m.) Oct. 10
Rabbit Hunt — Lantz cartoon (7m.) Oct. 17
The Sailor Mouse — Lantz cartoon (7m.) ..Nov. 7
Going Places with Thomas 856 — ( 10m.) . . . Nov. 14
Stranger Than Fiction 857 — (9m.) Dec. 5
Disobedient Mouse — Lantz cartoon (8m.) . .Nov. 28
Going Places with Thomas 857— (8j^m.) . .Nov. 28
Stranger Than Fiction 857 (9m.) Dec. 5
Baby Kittens — Lantz cartoon (8m.) Dec. 19
Going Places with Thomas 858 — (9m.) ...Dec. 26
Little Blue Blackbird— Lantz cart. (7m.) . .Dec. 26
Stranger Than Fiction 858 — (9m.) Jan. 2
Crack Pot Cruise — Lantz cartoon Jan. 9
Going Places with Thomas 859 Jan. 16
Soup to Muts — Lantz cartoon (7m.) Jan. 23
Universal — Two Reels
Music and Models — Mentone (18m.) Dec. 14
The False Trail— Barry 810 (20m.) Dec. 20
Heavy Odds— Barry 811 (19m.) Dec. 27
The Enemy Within — Barry 812 (19m.) Jan. 3
Mission of Mercy— Barry 813 (20m.) Jan. 10
Nautical Knights — Mentone (19m.) Jan. 11
Death Rides the Air — Scouts to the Rescue
81 (20 min.) Jan. 17
Avalanche of Doom — Scouts 82 (22m.) . . . Jan. 24
Trapped by Indians — Scouts 83 (21m.) Jan. 31
Vitaphone — One Reel
4804 The Daffy Doc— Looney Tunes (7m.) Nov. 26
4604 Nature's Mimics— Color Parade (10m.) Dec. 3
4506 Daffy Duck in Hollywood— Mer. Mel. (8m.) .Dec. 3
4705 Happy Felton & Orch.— Mel. Mast. (10m.).. Dec. 3
4304 Treacherous Waters — True Adv. (10m.) Dec. 10
4904 Robbin' Good— Vit. Varieties (10m.) Dec. 10
4805 Porky the Gob— Looney Tunes (8m.) Dec. 17
4507 Count Me Out— Merrie Melodies (7m.) Dec. 17
4706 Dave Apollon & Orch.— Mel. Mast. (11m.) .. Dec. 24
4508 The Mice Will Play— Mer. Melodies (7m.). Dec. 31
4605 Mechanix Illustrated 82 — Color Parade Dec. 31
Vitaphone — Two Reels
4014 Cleaning Up— Cross & Dunn (17m.) Nov. 12
4002 Declaration of Independence — Technicolor
Prod. (18 min.) Nov. 26
4015 Stardust— Benny Davis (18m.) Dec. 10
4016 Boarder Trouble— Joe Asbestos (19m.) Dec. 17
4017 Hats and Dogs— Wini Shaw (18m.) Dec. 31
4003 Swingtime in the Movies — Tech. Pro. (20m.). Jan. 7
4018 Spare Parts — Bway. Brevities Jan. 21
NEWSWEEKLY
NEW YORK
RELEASE DATES
Universal
733
Wednesday
•
734
Saturday . .
735
Wednesday
..Jan. 11
736
Saturday . .
.Jan. 14
737
Wednesday
..Jan. 18
738
Saturday . .
..Jan. 21
739
Wednesday
..Jan. 25
740
Saturday . .
..Jan. 28
741
Wednesday
..Feb. 1
742
Saturday . .
..Feb. 4
743
Wednesday
..Feb. 8
744
Saturday . .
..Feb. 11
Fox Movietone
33 Wednesday ...Jan. 4
34 Saturday Jan. 7
35 Wednesday . . Jan. 11
36 Saturday Jan. 14
37 Wednesday ...Jan. 18
38 Saturday Jan. 21
39 Wednesday . . Jan. 25
40 Saturday Jan. 28
41 Wednesday ...Feb. 1
42 Saturday Feb. 4
43 Wednesday ...Feb. 8
44 Saturday Feb. 11
Paramount News
44 Wednesday ...Jan. 4
45 Saturday Jan. 7
46 Wednesday . . . Tag. 11
47 Saturday
48 Wednesday ...J:nWs
49 Saturday Jan. 21
50 Wednesday ...Jan. 25
51 Saturday Jan. 28
52 Wednesday ...Feb. 1
53 Saturday Feb. 4
54 Wednesday . . . Feb. 8
55 Saturday Feb. 11
Metrotone
231 Wednesday
232 Saturday .
233 Wednesday
234 Saturday .
235 Wednesday
236 Saturday .
237 Wednesday
238 Saturday .
239 Wednesday
240 Saturday ..
241 Wednesday
242 Saturday . .
News
..Jan. 4
..Jan. 7
..Jan. 11
.Jan. 14
..Jan. 18
..Jan. 21
. Jan. 25
. Jan. 28
..Feb. 1
..Feb. 4
..Feb. 8
..Feb. 11
Pathe News
95248
95149
95250
95151
95252
95153
95254
95155
95256
95157
95258
95159
Wed.
Sat.
Wed.
Sat.
Wed.
Sat.
Wed.
Sat.
Wed.
Sat.
Wed.
Sat.
(E.).
(O.).
(E.) .
(O.).
(E.).
(O.).
(E.).
(O.).
(E.).
(O.)..
(E.).
(O.)..
Jan. 4
Jan. 7
Jan. 11
Jan. 14
Jan. 18
Jan. 28
Feb. 1
Feb. 4
Feb. 8
Feb. 11
Entered as second-class matter January 4, 1921, at the post office at New York, New Tork, under the act of March 3, 1879.
Harrison's Reports
Yearly Subscription Rates: 1270 SIXTH AVENUE Published Weekly by
United States $15.00 p 1 Q1 0 Harrison's Reports, Inc.,
U. S. Insular Possessions. 16.50 - ROOItl lOl^ Publisher
Canada 16-50 New York, N. Y. p. s. Harrison, Editor
Mexico, Cuba, Spain 16.50 . „ . „ , . „ .
Great Britain 15 75 A Motion Picture Reviewing Service
Australia, New Zealand,' Devoted Chiefly to the Interests of the Exhibitors Established July 1, 1919
India, Europe, Asia 17.50
n Pnnv Its Editorial Policy: No Problem Too Big for Its Editorial Circle 7-4622
PJ Columns, if It is to Benefit the Exhibitor.
A REVIEWING SERVICE FREE FROM THE INFLUENCE OF FILM ADVERTISING
Vol. XXI SATURDAY, JANUARY 14, 1939 No. 2
AN OPEN LETTER TO THE ALLIED
STATES BOARD OF DIRECTORS
Gentlemen :
You are about to convene in Washington to discuss the
memorandum that has been submitted to your negotiating
committee by the producers as a basis for settling the
exhibitor-producer disputes that have kept the industry in
a turmoil.
Your responsibility is, indeed, heavy, particularly because
your action may affect, (a) the Government suit, (b) the
Neely Bill, and (c) the North Dakota Theatre Divorce
Measure case.
An analysis of the producer memorandum in the Decem-
ber 24 and 31, and in the January 7 issues of this paper lias
disclosed that what has been offered to the exhibitors is so
little that, in the opinion of many exhibitors, it is not worth
even discussing. Some of the offers have been so framed as
to make the memorandum seem to be a Magna Carta for
the producers rather than a list of concessions for the
exhibitors.
For instance, Proposal No. 13 requires you to accept the
principle that, regardless of what understanding you may
reach with the producers, their right to build or acquire
theatres shall in no way be either abridged or curtailed.
This would, indeed, have a serious consequence were you
to accept it on behalf of the exhibitors.
It is hardly necessary for me to call your attention to
how little is offered by the other proposals ; all that I wish
to say is this : you have battled for more than ten years and
you have finally arrived at a point where relief is in sight.
The Federal Government has brought against the produ-
cers a suit intended to effect a divorcement of exhibition
from production-distribution. The passage of the Neely
Bill through the Senate, and the favorable sentiment of a
majority of the members of the House of Representatives
toward this measure, is proof that block booking can be
eliminated by legislation. And the enactment of the North
Dakota Theatre Divorce Law is an indication that, should
the U. S. Supreme Court uphold this law, theatre divorce-
ment can be brought about not only by Federal action, but
also by state legislation. Consequently, unless the producers
come forward, not with half-measures, but with real con-
cessions, it will be your duty to reject them, letting matters
take their natural course. Methods of doing business are
undergoing great changes ; it is no longer a case of "pro-
prietary rights," but one of "human rights." This is the
slogan of the United States Government, and it must be-
come the slogan of the motion picture industry.
Very sincerely yours,
P. S. Harrison.
THREE CHEERS FOR MARTIN QUIGLEY
Under the heading, "What the Industry Faces in 1939,"
Mr. Martin Quigley, Editor-in-Chief and Publisher of
Motion Picture Herald, published in the December 17 issue
of that paper of his an editorial which is so constructive that
Harrison's Reports has felt obliged to call it to the atten-
tion of the readers of this publication, for it believes that
the case of the exhibitor could not have been defended
more effectively.
Lack of space necessitates the reproduction of only the
salient parts of that editorial.
"Little doubt remains," says Mr. Quigley, "that the
American picture industry will face a variety of thorough-
going changes during the coming year. Out of the changes
that are in prospect there is hope of a better business. This
is fortunately so because the recent trend has been almost
evenly in the wrong direction.
"Looming large on the horizon is the government suit,
the outcome of which, despite the perverse or studied in-
difference of many in the industry, is almost certain to have
a profound effect on the business and its future operation.
There is naturally a devotion to the status quo on the part
of its beneficiaries even though there must be few who are
prepared to admit satisfaction over the present condition in
industry affairs. It perhaps cannot be demonstrated in
advance that extensive alteration in industry procedure will
increase the general prosperity. But if the year 1938 may
be taken as the fruition of existing policies, something in
the way of experimentation for the future seems in order.
"The product situation and the accompanying question of
costs admits of almost innumerable explanations, but one
that inevitably bids for attention is the iron-ring status, that
condition under which new people and new ideas are not
necessarily excluded. But their admission depends not upon
what they may show in a competitive test, but, rather, upon
their good fortune and right connections useful in pene-
trating the wall which has been created to keep the insiders
in and the outsiders out. . . .
"When the public stays away it is because of a particular
poor picture which is presented currently. . . . Release date
requirements, inability of the theatre to book a better at-
traction, a picture contracted for sight unseen—all these
and others may serve to explain how the poor picture got
into the theatre. But they afford little satisfaction to the
public which after paying the admission price has not been
entertained. . . .
"There is, naturally enough, much speculation on the
economic results of the condition of bureaucratic operation
which has come to characterize various activities of the
business. Distributors, in some instances, by virtue of their
power to dictate time and conditions of exhibition under-
take, in effect, to run theatres, frequently against the ex-
perienced judgment of the actual operators. If these many
intricate and involved arrangements proved to be materially
advantageous to the distributor, there would be that much,
at least, to be said in their favor. But it becomes frequently
the case that, while an advantage to the distributor is
sought, none actually is gained. And the exhibitor, curbed
and handicapped in taking the line his judgment dictates,
finds his chance of sustaining profitable operation dimin-
ished week by week. This and similar conditions are not
matters which half-way measures are likely to correct. A
new concept as to what constitutes healthy and construc-
tive trade practices is needed.
"The disappearance of the old order of spirited merchan-
dising of the motion picture to the public is well exemplified
in certain of the large theatre circuits where the procedure
has become as humdrum and routine as that of a railroad
office. Here may be seen applied in its full bloom the adage
— so beloved by banker and bookkeeper — that a dollar saved
is a dollar earned. Advertising budgets have been pruned
to the vanishing point, the process meanwhile pleasing
highly its sponsors who are so rapturously immersed in
expense curtailment tabulations that they fail to compre-
hend the import of the figures which trace the descending
line in attendance.
"The motion picture as a public attraction has lost many
of its early, unique advantages. Radio is not an ally. It is a
competitor of formidable proportions. What was once the
magic of the motion picture has come to be commonplace....
{Continued on last page)
6
HARRISON'S REPORTS
January 14, 1939
"Tough Kid" with Frankie Darro,
Dick Purcell and Judith Allen
(Monogram, December 28; time, 59 min.)
A fairly good program melodrama, suitable mostly for
neighborhood theatres. Frankie Darro is a standout in the
part of the young brother who idolizes and watches over his
older brother (Dick Purcell), a pugilist; he wins one's
sympathy by his honesty and efforts to do the right thing.
The bouts are exciting ; and, for once, a novel touch has
been injected, by having the hero lose the title bout. Inci-
dentally, one is held in tense suspense during this bout,
because of one's desire to see the hero win. Human appeal,
romance, and slight comedy touches are combined with the
melodrama : —
When Darro hears that Purcell (his brother) had signed
up with Don Rowan to manage him, he is discouraged, for
he had heard that Rowan was crooked ; this, he felt, might
ruin his brother's career. Rowan arranges for Purcell to
fight the champion. A certain gambler (William Ruhl),
having bet a large sum of money against Purcell, tries to
induce him to throw the fight ; but he refuses. When Ruhl
learns that Purcell's fiancee (Judith Allen), who sang at
his night club, was not well, he pretends to show concern
over her health and induces Purcell to take her to the office
of a famous doctor. Through a trick, he has his own hench-
man pretend to be the doctor ; they lead Purcell to believe
that Miss Allen was very sick and that she had to go out
West. Being unable to obtain the money for her care,
Purcell agrees to throw the fight for $1,00U. Ruhl arranges
to send Miss Allen away, but really makes her his prisoner.
Darro finds out about the trick ; but the gamblers prevent
him from getting to his brother. He manages to escape, but
it is too late, for by the time he gets to the arena Purcell
had lost the fight. With the information Darro had ob-
tained, Purcell is able to have the gang arrested. He rescues
Miss Allen, and then marries her.
Brenda Weisberg wrote the story, and Wellyn Totman,
the screen play ; Howard Bretherton directed it, and
Lindsley Parsons produced it. In the cast are Lillian Elliott,
Lew Kelly, Ralph Peters, and others.
Not for children. Class B.
"Devil's Island" with Boris Karloff
(Warner Bros., January 7 ; time, 62 mm.)
A grim melodrama. The sordid surroundings and scenes
of suffering by the men imprisoned on the island tend to
depress the spectator. It is unpleasant also in other respects
— in characterizations, as well as in the actions of some of
the characters. And the story in itself is somewhat arti-
ficial. One feels pity for the hero, an innocent victim of
political intrigue, who, when placed on the island, suffers
intensely, both physically and mentally ; but this is not
enough to hold one's interest. There is no romance : —
Tried as a traitor because he, a doctor, had operated on a
revolutionist who had been shot, Boris Karloff, an eminent
surgeon, is sentenced to imprisonment on Devil's Island.
The hard work and cruel treatment break his spirit. When
one of the prisoners dies, a group of prisoners, led by
Karloff, revolt. In the fight that follows one of the guards
is killed. Karloff and several other prisoners are sentenced
to death. The commander (James Stephenson) offers to
spare Karloff's life and the lives of the other prisoners if
he would operate on his child, who had met with an acci-
dent. Karloff performs the operation and saves the child,
but Stephenson goes back on his word. Karloff and a few
others escape, but are caught and taken back. Stephenson's
wife (Nedda Harrigan), knowing that Karloff would be
killed because he knew too much about Stephenson's
crooked work on the island, rushes to the Governor for
help. He and the newly appointed Minister rush to the
island in time to save Karloff's life. The Minister brings
Karloff the happy news that he had been pardoned. Ste-
phenson is arrested. Under Karloff's supervision, a new
regime governs the island ; the prisoners are promised help
and consideration. Miss Harrigan leaves the island with
her child.
Anthony Coldeway wrote the story, and Don Ryan and
Ken Garnet, the screen play. William Clemens directed it,
and Bryan Foy produced it. In the cast are Rolla Gourvich,
Tom Wilson, Egon Brecher, and others.
Not for children. Class B.
"Smiling Along" with Gracie Fields
(2i)th Century-Vox, January 20; time, 92 min.)
Just a mildly entertaining comedy, with only slight ap-
peal for American audiences. The story is trite, the situa-
tions silly, and the accents too "thick." Not only does the
plot lack originality, but it moves along at a slow pace, at
times tiring the spectator. Although Miss Fields works
hard, she does not make the picture entertaining. It is
doubtful if it will draw at the box-olfice, for, unlike "We're
Going to Be Rich," which had Victor McLaglen and Brian
Donlevy assisting Miss Fields, there are no players of box-
office value here : —
A troupe, headed by Miss Fields, lose their booking at a
music hall because of an argument Miss Fields had with
the manager who was cheating them. They find themselves
unable to earn any money. Miss Fields, feeling responsible
for their plight, invites them all to her grandfather's farm ;
but their presence so irritates him that he orders them to
leave. Just when things look really bad, they become ac-
quainted with a famous pianist, whose dog they had found.
He falls in love with Mary Maguire, a member of the
troupe, and promises to help them by appearing with them.
Their former manager tries to stop them by kidnapping the
pianist ; but he escapes in time to make an appearance and
thus assure the troupe's success. Feeling secure with a two
year contract, Miss Maguire and the pianist marry. And
Miss Fields and her assistant (Roger Livesey), who had
been in love for a long time, decide to marry.
Sanda Farago and Alexander Kenedi wrote the story,
and William Conselman, the screen play ; Monty Banks di-
rected it, and Robert T. Kane produced it. In the cast are
Peter Coke, Jack Donahue, Hay Hetrie, and others.
Suitability, Class A.
"Stand Up and Fight" with Robert Taylor,
Wallace Beery and Florence Rice
(MGM, January 6; time, 96 min.)
A very good outdoor action melodrama, with romance
and comedy. It is different from anything that Robert
Taylor has appeared in, which is to his advantage, for it
gives him an opportunity to appear in a real "he-man" part.
Men in particular should be thrilled, for the story offers
opportunities for plentiful action and thrilling situations.
Two fist fights between Wallace Beery and Robert Taylor
are standouts ; there are also other fights and fast horseback
riding. The story, although it can be classified as a Western,
is superior to the ordinary outdoor picture, for it revolves
around an interesting era in American history ; moreover,
the production values are very good. The romance is of
importance, being the motivating force in the hero's regen-
eration. The story takes place during the period when the
Baltimore and Ohio started building its railroad : —
Taylor, an impoverished Southern gentleman, goes West
to start all over again. He gets into a fight during a poker
game and is thrown into jail. Beery, who had been instru-
mental in sending him there, offers to bail him out on con-
dition that he wTork off the fine by driving one of his freight
stagecoaches. Taylor refuses, demanding to see Beery's
employer. To his surprise, the owner turns out to be Flor-
ence Rice, whom he had known in better times, and with
whom he had quarreled. She offers to let him go, but he
refuses, preferring to work out the fine as Beery, her man-
ager, had demanded. Taylor suspects Beery of using the
company's coaches for slave-running ; his suspicions are
confirmed when he finds one of his old slaves held a pris-
oner. He helps him to escape, but later finds the man mur-
dered. Taylor, acting for the railroad company, gets the
facts together and presents them to the government ; this
involves Miss Rice. Not having known anything about the
slave running, she suspects Taylor of trying to ruin her
company in order to help the railroad; but she learns the
truth, and forgives him. The slave-running leaders are
caught, and Miss Rice is cleared. Taylor, who, by this
time, had learned to like Beery, saves him. Miss Rice turns
over her stagecoach line to Beery, in order to marry
Taylor, who had taken a job as railroad traffic manager.
Forbes Parkhill wrote the story, and James H. Cain,
Jane Murfin, and Harvey Ferguson, the screen play ;
W. S. VanDyke, II, directed it, and Mervyn LcRoy pro-
duced it. In the cast are Helen Broderick, Charles Bickford,
Barton MacLane, Charley Grapewin, John Qualen, Robert
Glecklcr, and others.
Suitability, Class A.
January 14, 1939
HARRISON'S REPORTS
7
"Federal Man Hunt" with Robert Livingston
and June Travis
(Republic, December 26; time, 63 min.)
A fairly good program gangster melodrama, well directed
and acted. It has fast action, exciting situations, and a
pretty interesting story. The fact that the heroine becomes
involved innocently with the gangsters holds one in sus-
pense, since her life is endangered thereby. Towards the
end, the action becomes rather thrilling. The romance is
developed in a believable way : —
June Travis, believing John Gallaudet to be innocent of
the charges of having stolen his firm's payroll, arrives at
the prison to marry him; but just before the ceremony
begins he escapes. After questioning by the police, Miss
Travis is permitted to leave. She goes to a hideout to meet
Gallaudet. He sends her to get a parcel he had checked at
a railroad station, without telling her it contained the pay-
roll money he had actually stolen. Acccording to his in-
structions, she starts out on a trip, arranged by Gallaudet
and his henchmen, which was to take her to a place where
he would be waiting for her. She had to travel by a private
car in which there are several other passengers. One of the
passengers is Robert Livingston, a private detective, who
was checking up on the racket of unlicensed private cars
taking passengers for fare across country. On the way, the
driver picks up Gallaudet, who warns the passengers to be
quiet. Miss Travis soon learns the bitter truth — that Gal-
laudet was really a criminal ; Livingston, too, finds this out.
The driver stops at a hideout, where the other passengers
are forced to stay. Eventually Livingston, through a ruse,
attracts the police to the house. Gallaudet and the gang are
caught; Miss Travis turns the money over to the police.
Her name is cleared ; she and Livingston look forward to
happier times together.
Sam Fuller and William Lively wrote the story, and
Maxwell Shane, the screen play; Nick Grinde directed it,
and Armand Schaefer produced it. In the cast are Ben
Welden, Horace MacMahon, Charles Halton, and others.
Not for children. Suitability, Class B.
"Charlie Chan in Honolulu" with Sidney
Toler, Phyllis Brooks and John King
(20th Century-Fox, January 13; time, 67 min.)
A pretty good program murder-mystery melodrama.
Considering that this is Sidney Toler's first appearance in
the part of Chan, he does fairly well ; it may be that in time,
he will overcome the handicap of impersonating the role the
late Warner Oland played so well. There is plentiful
comedy ; the laughter is provoked by the attempts of two of
Chan's sons to follow in their father's footsteps, and by
Eddie Collins, an excitable keeper of lions. The story holds
one's interest throughout, and keeps one guessing as to the
murderer's identity ; it turns out that he is the one least
suspected : —
While Toler is at the hospital awaiting the birth of his
first grandchild, his young son receives a telephone message
from the Police Department requesting that Toler go to a
ship that had just docked, to investigate a murder which
had been committed aboard. The young son, knowing that
his older brother was eager to prove to their father that he
could make a good detective, suggests that they go to the
ship and work on the case. The older son tries to act tough,
but he is frightened ; he is happy when his father finally
arrives. During the investigation another passenger is mur-
dered. Phyllis Brooks, who had been carrying $300,000 in
cash, given to her by her firm to be turned over to a client,
is suspected, because, the first victim having been the client
and the second victim his wife, it was thought that she had
killed them so as to keep the money for herself. But Toler
proves that the murders had been committed by Robert
Barrat, the Captain, who wanted the money for himself.
Just as Toler completes the case, he receives the good news
that his grandson had been born.
Charles Beldcn wrote the original screen play, H. Bruce
Humberstone directed it, and John Stone produced it. In
the cast are Sen Young, Claire Dodd, George Zucco, and
others.
The murders make it unsuitable for children. Class B.
"Zaza" with Claudette Colbert
and Herbert Marshall
(Paramount, January 13 ; time, 84 min.)
The production values are excellent and Miss Claudette
Colbert's acting highly artistic, but the story creaks with
age. What may have been considered a great emotional
drama years ago strikes one today as being silly. The ro-
mantic complications, involving a sacrifice on the heroine's
part, may appeal to older women, but it is doubtful if young
folk will be touched by it. One or two situations touch one's
emotions, but this is due mainly to the appealing way in
which they are played. Bert Lahr turns from comedy to a
straight dramatic part and is quite good at it ; as a matter
of fact he is the most sympathetic character. Herbert Mar-
shall is at a definite disadvantage, for the character he por-
trays is unpleasant : —
Miss Colbert, a performer in a French music hall, is
groomed by her partner (Lahr) for stardom. But she
loses all interest in her career when she meets Marshall, a
staid business man, who succumbs to her charms. They
become lovers. When she learns that he was married, she
is at first enraged and then becomes heartbroken. But she
refuses to give him up ; instead, she decides to pay him an
unexpected visit at his home and, in the presence of his wife,
demand that he choose between them. Her plans are
changed, however, when she meets his child, an adorable
girl, who takes a liking to her. When Marshall's wife ar-
rives, Claudette pretends that she had entered the wrong
apartment. Lahr, her only real friend, consoles her and
induces her to give up Marshall and continue with her
career. She does so, and in time she becomes a famous star,
appearing in Paris. Four years later, Marshall calls to see
her at the theatre, but she tearfully sends him away.
The plot was adapted from the play by Pierre Berton
and Charles Simon ; Zoe Akins wrote the screen play,
George Cukor directed it, and Albert Lewis produced it.
In the cast are Helen Westley, Constance Collier, Gene-
vieve Tobin, Walter Catlett, Rex O'Malley, and others.
Not suitable for children. Class B.
"Newsboys' Home" with Jackie Cooper,
Wendy Barrie and Edmund Lowe
(Universal, December 23 ; time, 72 min.)
A fairly good melodrama. It should go over well with
audiences who are not concerned about lack of logic in a
plot as long as there is fast and exciting action throughout.
They will not be disappointed on that score, for there is
plentiful action, which, towards the end, becomes very ex-
citing. In addition to the melodrama, the story offers com-
edy and a mildly pleasant romance. Jackie Cooper gives his
usual good performance, winning one's sympathy : —
Heartbroken at the death of his father, a small-town
Sheriff, who had been shot by an escaping gangster, Jackie
decides to go to the city in search of the criminal, whom he
had seen. Being without funds, he goes to a newsboys' home
founded by the publisher of a large newspaper, where he is
given food and shelter. He decides to sell papers ; in a
short time he becomes the leader. When the publisher dies,
his daughter (Wendy Barrie) takes over his job. Her
stubbornness in refusing to listen to advice from Edmund
Lowe, the managing editor with whom she was in love, is
disastrous for the paper ; its circulation drops and the ad-
vertisers withdraw their accounts. The newsboys' home is
closed and all the boys, with the exception of Jackie and
one other, go over to the rival paper. In a quarrel with
Miss Barrie, Lowe resigns. Eventually Miss Barrie sees
the error of her ways and begs Lowe to return ; things start
humming, and in a short time the paper's circulation rises.
The rival newspaper publisher (Irving Pichel) engages a
gangster to start trouble for Miss Barrie. In a fight that
follows one of the newsboys is shot. Jackie recognizes the
gangster as the one who had killed his father. He is instru-
mental in having him and the other gangsters rounded up.
The newsboys' home is reopened, much to the joy of the
boys, who return to it. Miss Barrie marries Lowe.
Charles Grayson and Gordon Kahn wrote the story, and
Gordon Kahn, the screen play ; Harold Young directed it,
and Ken Goldsmith produced it. In the cast are Edward
Norris, Samuel Hinds, Elisha Cook, Jr., and others.
Suitability, Class A.
8
HARRISON'S REPORTS
January 14, 1939
"On Broadway the show that fails to satisfy the public
demand is quickly and decisively hauled to the storehouse.
But the early wise men of the industry, foolish in their
wisdom, sought and succeeded in contriving a system that
serves to perpetuate the picture that has failed in its enter-
tainment purpose. This has proved to be a disastrous ac-
complishment which in these latter years has brought about
increasingly adverse results. . . .
"No matter how intelligently conceived and executed, all
pictures undertaken cannot be expected to turn out to be
sterling attractions. But under prevailing conditions the
good pictures do not obtain the revenue to which they are
entitled. The poor ones obtain too much, however little that
may be. In addition, the failures serve to break the theatre-
going habit, to cause the public to wonder what has hap-
pened to pictures as they pass on in search of entertainment
elsewhere. . . .
"The argument that unless the indifferent films are dis-
tributed and allowed to collect some revenue the better
productions would be prohibitive in cost is unconvincing.
A production company succeeds or fails on the basis of
total revenues collected against the total costs of produc-
tion. It is immaterial whether a stated volume of revenue is
obtained out of twenty-five pictures or out of thirty pic-
tures. If a program of thirty pictures costs $15,000,000, the
producer's situation is better and not worse if he recoups
his costs through the distribution of only twenty-five instead
of the whole thirty pictures because he has saved the costs
of distribution. The automatic rejection at the source of
pictures which unquestionably are below acceptable stand-
ards would confer a great benefit on the public and on the
exhibitor and at the same time would inevitably lead to an
enhancement of the reputation of the motion picture. Ad-
mittedly, however, such a policy would not serve to monop-
olize screen time to the exclusion of other product. . . .
"The coining year, for reasons referred to and others, is
likely to become a turning point in motion picture industry
affairs. The present procedure if kept prosaically intact
promises only a postponement of a serious day of reckoning.
There are now, and have been for some time, danger signals
all along the right of way. The great question which 1939
proposes is whether out of the vast store of accumulated
knowledge and experience the industry in its several com-
ponent parts will determinedly set itself to the task of
recapturing that spirit of enterprise and progress out of
which its greatness was born. ..."
BOX-OFFICE PERFORMANCES OF
1938-39 SEASON'S PICTURES— No. 1
In the issue of October 15, 1938, appeared the last of the
fifth series of articles giving the box-office performances of
the 1937-38 season's pictures. When that issue was pub-
lished, some of the 1937-38 season's pictures either had not
been released or had not played in a sufficient number of
theatres to make possible an accurate report of their box-
office performances. As a result, they were omitted from
those articles.
The present series of articles, although relating to the
box-office performances of the 1938-39 season's pictures,
will include the check-up also of those of the 1937-38 sea-
son's pictures not reported up to the October 15 issue.
They will be identified properly as belonging to the 1937-38
season, under the names of the companies releasing them.
Columbia
1937-38
"The Gladiator," with Joe E. Brown and June Travis,
produced by David L. Loew and directed by Edward Sedg-
wick, from a screen play by Arthur Sheekman : Good-Fair.
"Convicted," with Charles Quigley and Rita Hayworth,
directed by Leon Barsha, from a screen play by Edgar
Edwards : Poor.
"Phantom Gold," with Jack Luden and Beth Marion,
directed by Joseph Levering, from a screen play by Nate
Gatzert : Fair-Poor.
"I Am the Law," with Edward G. Robinson, Wendy
Barrie, and John Beal, produced by Everett Riskin and
directed by Alexander Hall, from a screen play by Jo
Swerling: Good.
"The Colorado Trail," with Charles Starrett and Iris
Meredith, directed by Sam Nelson, from a screen play by
Charles S. Royal : Fair-Poor.
"The Lady Objects," with Gloria Stuart, Lanny Ross,
and Joan Marsh, produced by William Perlberg and di-
rected by Erie Kenton, from a screen play by Gladys Leh-
man and Charles Kenyon : Fair-Poor.
"Juvenile Court," with Paul Kelly, Rita Hayworth, and
Frankie Darro, directed by U. Ross Lederman, from a
screen play by Michael L. Simmons, Robert E. Kent, and
Henry Taylor : Fair.
"The Stranger from Arizona," with Buck Jones and
Dorothy Fay, produced by Monroe Shaff and directed by
Elmer Clifton, from a screen play by Monroe Shaff : Fair-
Poor.
"Girls' School," with Anne Shirley, Nan Grey, Ralph
Bellamy, and Noah Beery, Jr., produced by Sam Marx and
directed by John Brahm, from a screen play by Tess Slcs-
inger and Richard Sherman : Good-Fair.
"Law of the Texan," with Buck Jones and Dorothy Fay,
produced by Monroe Shaff and directed by Elmer Clifton,
from a screen play by Monroe Shaff and Arthur Hoerl :
Fair-Poor.
"California Frontier," with Buck Jones and Carmen
Bailey, produced by Monroe Shaff and directed by Elmer
Clifton, from a screen play by Monroe Shaff and Arthur
Hoerl : Fair-Poor.
Fifty-nine pictures, including Westerns, have been re-
leased. Grouping the pictures of the different ratings from
the beginning of the season, we get the following results :
Excellent, 2 ; Very Good-Good, 1 ; Very Good-Poor, 1 ;
Good, 1; Good-Fair, 6; Good- Poor, 4; Fair, 12; Fair-
Poor, 28 ; Poor, 4.
Thirty-eight pictures, excluding Westerns, were released
during the 1936-37 season ; they were rated as follows :
Excellent, 1 ; Very Good, 1 ; Very Good-Good, 1 ; Good,
4; Good-Fair, 4; Good-Poor, 1; Fair, 5; Fair-Poor, 13;
Poor, 8.
1938-39
"You Can't Take It with You," with Lionel Barrymorc,
Jean Arthur, James Stewart, Spring Byington, and Samuel
Hinds, produced and directed by Frank Capra, from the
screen play by Robert Riskin : Excellent.
"West of Santa Fe," with Charles Starrett and Iris
Meredith, directed by Sam Nelson, from a screen play by
Bennett R. Cohen : Fair-Poor.
"Crime Takes a Holiday," with Jack Holt and Marcia
Ralston, produced by Larry Darmour and directed by
Lewis D. Collins, from a screen play by Henry Altimus,
Jefferson Parker, and Charles Logue : Fair.
"Flight to Fame," with Charles Farrell, Jacqueline
Wells, and Jason Robards, directed by C. C. Coleman, Jr.,
from a screen play by Michael L. Simmons: Fair.
"The Little Adventuress," with Edith Fellows, Jacque-
line Wells, Richard Fiske, and Cliff Edwards, directed by
D. Ross Lederman, from a screen play by Michael L.
Simmons : Fair-Poor.
Five pictures have already been released. Grouping the
pictures of the different ratings from the beginning of the
season, we get the following results :
Excellent, 1 ; Fair, 2 ; Fair-Poor, 2.
The first five pictures in the 1937-38 season were rated
as follows :
Excellent, 1 ; Good-Poor, 1 ; Fair, 1 ; Fair-Poor, 2.
SOMETHING TO THINK ABOUT
In the Foreword of the book, "High Pressure : What It
Is Doing to My Town and My Neighbors," Mr. Jesse
Rainsford Jones, the author, says partly the following:
"... the time is past when business can be allowed so
much freedom without disastrous consequences. In this
book I have tried to show what can happen in a typical
American community as a result of allowing business an
excess of freedom. . . . We Americans don't have the sense
of security that we used to have. . . . We can't have the old
sense of security until something is done to curb the Amer-
ican practice of high-powered salesmanship."
The United States Government seems to be imbued with
the same theory about the motion picture industry. Hence
the suit it has brought against the producers — to curb the
excess freedom they have so far had in using high-powered
salesmanship tactics against the weak.
Entered as second-class matter January 4, 1921, at the post office at New York, New York, under the act of March 3, 1879.
Harrison's Reports
Yearly Subscription Rates: 1270 SIXTH AVENUE Published Weekly by
United States 915.00 R„nm1ft1o Harrison's Reports, Inc..
U. S. Insular Possessions. 16.50 KOOm lou Publisher
Canada 16.50 New York, N. Y. P. S. HARRISON, Editor
Mexico, Cuba, Spain 16.50 . , .
Great Britain 15.75 Motlon Plcture Reviewing Service v«t*hU,h»a T„,v 1 mi 4
Australia, New Zealand, Devoted Chiefly to the Interests of the Exhibitors Established July 1, 1919
India, Europe, Asia .... 1-3.50
iKn c p„„v Its Editorial Policy: No Problem Too Big for Its Editorial Circle 7-46£2
ooc a. copy Columns, if It is to Benefit the Exhibitor.
A REVIEWING SERVICE FREE FROM THE INFLUENCE OF FILM ADVERTISING
Vol. XXI SATURDAY, JANUARY 21, 1939 No. 3
NATIONAL SCREEN SERVICE DOING
GREAT PATRIOTIC WORK
Inspired by a speech on tolerance and patriotism made by
Mr. Karl Hoblitzelle at the dinner which he and Mr. Bob
O'Donnell, his associate, gave to Mr. Ned Depinet, in
Dallas, early last year, Mr. Herman Robbins, of National
Screen Service, suggested to Messrs. Hoblitzelle and
O'Donnell, that the beautiful sentiments expressed by Mr.
Hoblitzelle in that speech be translated into a trailer, to be
shown at the theatres of their circuit, Interstate Circuit of
Texas.
Messrs. Hoblitzelle and O'Donnell liked the idea and a
trailer was decided upon to be based on the National An-
them, "The Star Spangled Banner."
The showing of that trailer in the theatres of the circuit
proved so successful that Mr. Robbins felt that this and two
other trailers, entitled "Constitution" and "The Bill of
Rights," be produced and sold outright to any exhibitor
who wanted them, at cost.
National Screen Service has now ready for sale trailers
of "The Star Spangled Banner." Its length is 118 feet, 36
feet being in technicolor.
The charge for this trailer is $3.54. This cost does not
include studio recording, art work, text research, film
editing and distribution ; it covers only the cost of the raw
stock and of printing.
In view of the fact that the trailers become your prop-
erty upon purchase, I suggest that you buy all three. There
are many occasions on which you could show them to good
advantage. "Star Spangled Banner," which is the only one
ready just now, is not only inspiring, but also highly artis-
tic. And I am sure that the other two will be as artistic
as well as inspiring ; they will be ready for delivery shortly.
Harrison's Reports takes great pleasure in commending
National Screen Service for its forethought.
THE TRUTHS MR. QUIGLEY SAID IN
HIS DECEMBER 16 EDITORIAL
What Mr. Quigley actually said in his December 16
editorial, the salient parts of which were reproduced in last
week's issue of this publication, is this :
(1) The motion picture industry will "face a variety of
thoroughgoing changes this year."
(2) Despite the studied indifference of the producers,
the Government suit will have a great influence upon the
method of doing business in the industry.
(3) New "blood" in the production end of the industry
is not admitted so easily now ; the penetration of the wall
the present heads there have built around production so
as to keep themselves in and the "outsiders out" depends,
not on ability, but on good fortune and "right connections."
(4) Explanations of why a theatre shows a bad picture
give little satisfaction to those who pay their money to the
box offices to be entertained.
(5) The producers, although they have all the advan-
tages of obtaining the best pictures available, arc not suc-
cessful theatre operators.
(6) Theatre operation by producer employees has be-
come a humdrum and routine procedure — just like (hat of
railroads. Their main thought is how to save money in the
operation of tbe theatres, not how to get more money. In
line with this thought, they are doing as little advertising
as they can, whereas advertising should be done with a
"vengeance." Such a step might spoil the pleasure of those
who prepare tabulations of expense curtailment but it will
bring in dollars.
(7) Radio is not an ally of the motion picture but a
competitor of formidable proportions.
(8) If a stage show on Broadway fails to make good,
it is "hauled to the storehouse," and there pickled ; whereas
the moving picture producers have succeeded in contriv-
ing a system whereby "failures" are "perpetuated." This
system has made and is making the industry "pay."
(9) Under the present system, good pictures do not bring
in the money they can bring, and the poor pictures, by
being kept on the board, are given a chance they are not
entitled to be given. This has dissatisfied the public and
has caused it to look for good entertainment elsewhere.
(10) The argument that unless the poor pictures are
given a chance to bring in some revenue the industry will
go bankrupt is not convincing. What is the difference
whether the income is derived from twenty-five pictures
or from thirty, as long as the full income is derived? It
should be more profitable if it were derived from twenty-
five, because it would save the distribution cost of the five
pictures that are not worth showing. "The automatic rejec-
tion" of poor pictures "at the source . . . would confer a
great benefit on the public and on the exhibitor," and would
add prestige to motion pictures. But such a policy would
not perhaps be acceptable to the present holders of the
"monopoly," because it would give a chance to the meri-
torious pictures of others.
(11) If the producers should insist upon continuing the
present system, they merely delay the day of reckoning,
but they will not be able to prevent its arrival. "There are
now, and have been for some time, danger signals all along
the right of way." The only question is whether the pro-
ducers will be wise enough to see it or not.
Wise statements, I'll say!
20th CENTURY-FOX TO DISTRIBUTE
GAUMONT-BRITISH PICTURES
On December 12, Twentieth Century-Fox took over the
sales of Gaumont-British pictures.
The exhibitors of the United States know, I am sure,
that Twentieth Century-Fox has a substantial interest in
the Gaumont-British company of Great Britain. By taking
over the sales of this company's pictures, Twentieth Cen-
tury-Fox merely accommodates a partner.
Some exhibitors have expressed the fear that the Twen-
tieth Century-Fox salesmen may attempt to compel an
exhibitor to buy these pictures in addition to the pictures
of their own company, but Harrison's Reports doubts
whether these fears arc justified; Sidney Kent is too smart
to permit them to resort to such a practice.
But in view of the fact that Mr. Kent cannot be present
during the negotiations of exhibitors with salesmen to pre-
vent the salesmen from possibly employing high-pressure
sales methods, Harrison's Reports suggests to the Allied
members of the negotiating committee, in the event that
the negotiations were resumed, to insist that in the final
agreement there be included a provision dealing with for-
eign pictures.
10 HARRISON'S REPORTS January 21, 1939
"The Great Man Votes" with John Barry-
more, Virginia Weidler and Peter Holden
(RKO, Jan. 13; time, 71 min.)
An excellent and, in some ways, unusual picture. For
one thing, the story is completely off the beaten path ; and
yet, it has the ingredients for mass appeal in that it has
deep human interest, unusual comedy, and exceptionally
good performances. The direction, too, is outstanding ; it
seems as if RKO has uncovered a director of great talent
in Garson Kanin, for he has showed ability also in another
picture — "A Man To Remember." "The Great Man Votes"
is the type of picture that has something in it for all types
of audiences for, in addition to its human quality, the story
development is intelligent, and the dialogue brilliant. Sev-
eral situations touch one's heartstrings. The closing scenes,
in which John Barrymore makes a speech, are the most
touching. The romantic interest is minimized : —
To his children (Virginia Weidler and Peter Holden),
John Barrymore was the most marvelous person in the
world. They felt sure that, had their mother lived, he, a
Harvard graduate, would have been a great man and not
a night watchman ; but her death had broken his spirit and
he had taken to drink. Since he had small regard for the
public school system his children were compelled to at-
tend, he instructs them on his own. Both children were so
remarkably intelligent, that they surprised their new teacher
(Katherine Alexander) by their knowledge. She pays a
visit to Barrymore and is unhappy to find so brilliant a
man doing menial work. When it is discovered that Barry-
more was the only voter in a certain district, Donald Mac-
Bride, ward boss, pays him a visit to try to induce him to
vote for his man, candidate for Mayor. But Barrymore,
who had been enraged when MacBride had caused him to
lose his job because little Virginia had given MacBride's
son a black eye, makes demands. Urged on by his children,
he asks for the important position of School Commissioner
in return for his vote ; MacBride promises it. In the
meantime, his wife's relatives try to take the children away
from Barrymore. But when he rides victorious to the polls,
at the head of a parade, with a written promise from the
Mayor assuring him of the position, the relatives give up
their demands. Barrymore is indeed a happy man, for he
had proved to his children that he was a great man. Miss
Alexander shares his joy.
Gordon M. Hillman wrote the story, and John Twist,
the screen play ; Cliff Reid produced it. In the cast are
Bennie Bartlett, Elizabeth Risdon, and others.
Suitability, Class A.
"Arizona Legion" with George O'Brien
(RKO, Jan. 20 ; time, 58 min.)
This is George O'Brien's best western to date. His fans
are in for a treat, for the story gives him many opportu-
nities to exhibit his skill as a horseback rider and a fighter.
Despite a routine plot, one's attention is held throughout,
for the action is fast and the situations exciting. The photog-
raphy is very good, particularly in the outdoor scenes.
Romance and comedy are interpolated without interfering
with the action : —
George O'Brien, a former ranch owner who had sold his
cattle and was squandering his money on drink and gam-
bling, becomes friendly with a gang of outlaws. His hancee
(Laraine Johnson), heartbroken, breaks their engagement.
Unknown to everyone but to Miss Johnson's father, a
Judge, O'Brien had been given official permission by the
governor to organize a squad to be known as "Arizona
Rangers," which he was to head in an effort to stop the
lawlessness in the town. O'Brien, still pretending to be
one of the outlaws, helps them hold up a stagecoach that
carried federal funds. He and his pal are caught, along with
two of the outlaws, and thrown into jail. Through them
he learns the name of the leader. In an interview with his
former pal (Tim Holt), an Army lieutenant, O'Brien tells
him the facts, but Holt refuses to believe he was an officer.
Holt unwittingly turns the information over to the leader,
who was none other than the town Commissioner. O'Rrien
and his pal, however, manage to escape and, with the help
of their Rangers and the subsequent arrival of the Army
men, are able to overpower the gang, recover the money
they had stolen, and establish law and order. Miss Johnson
is happy to take back her engagement ring.
Bernard McConville wrote the story, and Oliver Drake,
the screen play ; David Howard directed it, and Bert Gil-
roy produced it. In the cast are Carlyle Moore, Chill Wills,
Tom Chatterton, and others.
Since the bravery of the hero is stressed, it is suitable for
children. Suitability, Class A.
"Disbarred" with Gail Patrick,
Otto Kruger and Robert Preston
(Paramount, Jan 20; time, 59 min.)
Fair program entertainment. In spite of the fact that the
plot is far-fetched, it should please those who enjoy racket-
eer melodramas, for what it lacks in plausibility is made up
for in fast action. One's attention is held pretty well, par-
ticularly in the second half, wlien the heroine unwittingly
becomes involved with the racketeers. The love interest is
minimized : —
When Otto Kruger, a criminal lawyer, is disbarred be-
cause of crooked work in legal cases where he represented
Sidney Toler, a racketeer, he decides to have town. The
plane taking him out West makes a forced landing. In
order to while away the time, he goes to the courthouse,
where he listens to Gail Patrick, a young lawyer, try a
case; she so impresses him that he decides to use her in
his work. Leading her to believe that he was a real estate
operator, with good connections, he offers to obtain a posi-
tion for her with a lawyer whom he supjxjsedly knew, but
really his henchman. She gratefully accepts. Following
Krugcr's orders, the henchman gives Miss Patrick all the
criminal cases to try. Coached by her employer, who in
turn had been coached by Kruger, she wins all her cases by
tricks, much to the annoyance of the District Attorney
and of his assistant (Robert Preston). Miss Patrick dis-
likes the work given to her, and leaves; she joins the Dis-
trict Attorney's staff. Toler is murdered, and the clues lead
to her former employer. She obtains from his office impor-
tant information ; she is shocked to learn who Kruger really
was. With her help, the gang is rounded up. Preston con-
fesses his love for her, and she accepts Iris marriage pro-
posal.
Harry Sauber wrote the story, and Lillie Hayward and
Robert R. Prcsnell, the screen play ; Robert Florey di-
rected it. In the cast are Helen Ma^Kcllar, Clay Clement,
Eddie Marr, Charles Brown, and Frank M. Thomas.
Not suitable for children. Class B.
"Ambush" with Gladys Swarthout and
Lloyd Nolan
(Paramount, Jan. 20; time,6V/> min.)
Here is a novelty — a picture starring an opera singer who
does not sing one song. "Ambush" is a fast-moving pre>gram
gangster melodrama ; it holds the spectator in tense sus-
pense. The story is somewhat demoralizing, for it shows the
methods employed by the gangsters in carrying out their
nefarious schemes, as well as how powerful they are with
guns in their hands. Although it is not entertainment for
children, adults who go in for melodramas of this type
will enjoy it, for the action is thrilling, the story interest-
ing, and the plot logical. One is in sympathy with the hero
and the heroine, who are forced to do the bidding of the
gangsters : —
Knowing that her brother (William Henry) had sup-
plied the gas used by three criminals in holding up the
bank in which she worked, Gladys Swarthout rushes to
him : she pleads with him to go to the police, but he refuses.
The gangsters hold them both prisoners. Ernest Truex, the
leader, threatens to kill Henry unless Miss Swarthout co-
operated with them ; he orders her to get them a truck in
which to make their getaway. She strikes up a friendship
with Lloyd Nolan, who drove his own truck, and lures him
to the hideout. There Truex gives Nolan his orders, threat-
ening him with death unless he obeyed. Nolan soon realizes
that Miss Swarthout was innocent. All roads were being
patrolled by police, but, since they knew Nolan, who fre-
quently drove his truck there, they let him pass without
examining the contents of his truck. In a clever way, Nolan
manages to get information to the police without Truex's
suspecting anything. When they reach a certain spot, they
abandon the truck and continue by plane. Nolan induces
them to spare his life, in return for which he offers to take
them to his hut in the mountains. When they arrive there,
Henry, feeling that he was ruining his sister's life, goes
to his death, taking with him one of the gangsters. Another
gangster dies. Truex, left alone, warns Nolan not to try
anything. The police finally locate the hideout and arrive
just in time to save Nolan and Miss Swarthout, whom
Truex was planning to kill. With the money returned and
their names cleared, Nolan and Miss Swarthout plan to
marry.
Robert Ray wrote the story, and Laura and S. J. Perel-
man, the screen play ; Kurt Neumann directed it, and
William Wright produced it. In the cast are Broderick
Crawford, Rufe Davis, William Frawlcy, and others.
Not for children. Adult fare. Class B.
January 21, 1939
HARRISON'S REPORTS
11
"Jesse James" with Tyrone Power, Henry
Fonda, Randolph Scott and Nancy Kelly
(20//; Century-Fox, Jan. 27; time, 105 min.)
This is very good mass entertainment. Technicolor
photography has never been employed to better advantage.
Some of the outdoor scenes are like paintings ; they are
certain to bring gasps of delight from the audience. But
the biggest drawing card is the title itself, for the fame of
"Jesse James" is known to most people in this country ;
and with such popular players in the cast, there is no doubt
that it will do smash business. It has, however, its defects.
For one thing, Tyrone Power is hardly the type to portray
a bold bandit ; as a matter of fact, he comes out third best,
for both Henry Fonda and Randolph Scott act more con-
vincingly. Secondly, there are spots in which the action
drags considerably. And, thirdly, the hero is not a sympa-
thetic character, despite the efforts of the producers to
justify his criminal activities. But the action is at times
thrilling, at other times laugh-provoking, and for the most
part interesting : —
Embittered by the ruthless methods employed by the
railroad company in usurping their farm land, thereby
causing the death of their mother, Jesse James (Power)
and Frank James (Fonda) become outlaws, centering most
of their activities against the railroad company. In time,
however, they branch out to robbing also banks. A big re-
ward is offered by the railroad company for Jesse's capture.
Despite the risk, Jesse visits Zerelda (Nancy Kelly), with
whom he was in love. There he meets Will Wright (Scott),
a federal marshal, who, too, loved Zerelda ; Wright knows
who Jesse was but lets him go free. In an effort to help
the young couple, Wright obtains a written promise from
the railroad president that, if Jesse would surrender, he
would be given a six-month sentence and then released.
Zerelda and Jesse marry, after which Jesse gives himself
up. But it turns out that the president really intended to
have Jesse hanged. The double-cross disgusts Scott. Frank,
in company with his bandits, carries out his threat to free
Jesse. Jesse and Zerelda live in hiding. This makes her
miserable. Scott and her uncle (Henry Hull) are with her
when she gives birth to her son ; she goes back home with
her uncle. Jesse decides not to follow her ; instead, he con-
tinues his outlaw career. After five years, he and his wife
are reconciled, and plan to go to California, there to start
life anew. On the day they were to leave, Jesse is killed
by one of his own men for the reward.
Nunnally Johnson wrote the original screen play and
produced it. Henry King directed it. In the cast are Slim
Summerville, J. Edward Bromberg, John Carradine, Jane
Darwell, and others.
Since the hero is a bandit, exhibitors will have to use
their own judgment about showing it to children. Suita-
bility, Class B.
"King of the Underworld" with Kay Francis
and Humphrey Bogart
{Warner Bros., Jan. 28; time, 68 min.)
A fairly good program gangster melodrama ; the action
is fast and exciting. The story is similar to that of "Dr.
Sociates," produced by Warner in 1935, for the main idea —
that of a doctor subduing a gang of murderous criminals by
frightening them into permitting him to give them an
injection that doped them, is used here, except that in this
case the doctor puts drops in their eyes, which blind them
temporarily. It is more effectively done than in "Dr. Socra-
tes," for the gangster leader, although unable to see, walks
around with a gun in his hand, intent on killing the doctor ;
this holds the spectator in tense suspense. For another thing,
the leading character (Miss Francis) is more sympathetic,
for she docs not willingly help the gangsters. The romance
is pleasant : —
Kay Francis and her husband (John Eldridge), both
surgeons, complete a successful operation on a gangster
who had been shot. When Humphrey Bogart, gangster
leader, hears of it, he visits Eldridge and insists on giving
him $500 for his work. Eldridge tells Miss Francis he had
won the money betting on horses ; he suggests that they
move to more fashionable quarters. Unknown to Miss
Francis, Eldridge continues his association with the gang-
sters. Eventually the police raid Bogart's hideout ; Eldridge
is killed during the shooting, but Bogart and his men escape.
Miss Francis is arrested as her husband's accomplice. At
her trial, the jury disagrees and she is released. The Medi-
cal Association gives her three months in which to prove
her innocence. Hearing that two of Bogart's henchmen
were held in a small town jail, she leaves for that place,
and there she opens an office. Bogart and his henchmen
arrive at the jail and shoot their way through to release the
prisoners. James Stephenson, a penniless author wdio had
accepted a lift from Bogart, is shot ; so is Bogart. Stephen-
son is caught trying to escape and is arrested as one of the
gangsters; but he proves his innocence. He and Miss
Francis become good friends. Miss Francis' aunt insists
that he stay with them for a while. Bogart calls on Miss
Francis ; she takes care of him. Wanting to have the story
of his life written, Bogart has his men kidnap Stephenson;
his intention was to kill him when the book was finished.
Miss Francis outwits the gang, leading them into the hands
of the federal officers. Bogart is killed. Her name cleared,
she marries Stephenson.
W. R. Burnett wrote the story, and George Bricker and
Vincent Sherman, the screen play; Lewis Seiler directed
it, and Bryan Foy produced it.
Not suitable for children. Class B.
"Pirates of the Skies" with Kent Taylor,
Rochelle Hudson and Regis Toomey
(Universal, Feb. 3; time, 61 min.)
A fair program melodrama, revolving around the activi-
ties of the air police patrol. Although the story is familiar,
it holds one in fair suspense, because of the exciting action
during the encounters between the police and the criminals.
Since the audience knows from the very beginning who the
criminals are, the interest lies in the methods emploved by
the police in solving the case. Occasionally the action is
slowed up because of too much dialogue and of the inter-
jection of comedy that is not particularly effective: —
Kent Taylor, a happy-go-lucky aviator, who could not
hold down a job, joins the air police force in wdiich his pal
(Regis Toomey) was an officer. Rochelle Hudson, Kent's
wife, who had left him because of his inability to take a
job seriously, expresses doubt as to Kent's ability for such
work. The police are unable to obtain clues as to the iden-
tity of a gang of racketeers, who had been terrorizing the
district by their bold holdups. Kent, who had been ordered
to fly to a summer camp, there to pick up the Governor and
take him to the Capitol Building, notices, while in flight, a
car stopping at a landing field. Two men emerge from the
car and rush to a waiting plane. Realizing that they must be
the mysterious criminals, he starts pursuing them ; but they
get away from him. Because of engine trouble, Kent is
forced to land at the pigeon farm owned by Lucien Little-
field, who was really the head of the gang. Littlefield helps
him out. after which Kent returns to headquarters ; but he
is forced to resign because of acting against orders. He fol-
lows the case up himself, and eventually proves that he was
correct in his deductions. The gangsters are trapped by the
police. Kent's reinstatement brings happiness to Miss Hud-
son, who becomes reconciled with him.
Ben G. Kolm wrote the screen play, Joe McDonough
directed it, and Barney Sarecky produced it. In the cast are
Dorothy Arnold, Marion Martin, and others.
The activities of the criminals make it unsuitable for
children. Class B.
"Fighting Thoroughbreds" with Ralph
Byrd, Mary Carlisle and Robert Allen
(Republic, January 6; time, 65 min.)
A pretty good racetrack program melodrama. Although
not very different in story content from other pictures of
this type, it should please an average audience, for the
action is pretty fast and fairly interesting. One is in sym-
pathy with the heroine (Mary Carlisle) and her grand-
father (George Hayes), who, because of financial difficul-
ties, had lost their home and their horses. The spectator is.
therefore, pleased when they come into possession of a coit
whose sire had been a race horse, for it meant that they
could recoup their fortunes if the colt should turn out to be
a racer. One's attention is held until the end, when the big
race is run ; during this situation one is held in suspense for
the heroine's chances of winning are endangered by gam-
blers, who had kidnapped her grandfather in order to force
her to hold her horse back, for they were betting on another
horse. But her horse wins, and her grandfather is rescin d
by the hero (Ralph Byrd), a physician who had brought
the colt into the world and had helped her train it. and by
Robert Allen, a wealthy man, who was in love with her
But she gives her love to Byrd.
Clarence E. Marks and Robert Wyler wrote the story,
and Wellyn Totman, the screen play"; Sidney Salkow di-
rected it. and Annand Schaefer produced it. In the cast are
( harles Wilson, Marvin Stephens, and others.
Suitability, Class A.
12
HARRISON'S REPORTS
January 21, 1939
PARAMOUNT TAKES STEP TO
DIVORCE THEATRES FROM
PRODUCTION
In the financial section of the January 6 issue of the New
York Herald-Tribune, there was a news item to the effect
that Paramount has taken the first steps to divest itself of
its theatre holdings.
The Tribune article says that Paramount contemplates
forming two new companies, one for the taking over of
production, and the other of the theatres. One share from
each new company will be given for one share of the present
stock.
"This action," says the Herald-Tribune, "is believed to
be the first of similar moves by other motion picture com-
panies, which also own exhibiting facilities, as a result of
the anti-trust action taken against the industry by the
Department of Justice.
"Just when Paramount will take this action is not known,
but it was reported that the changes would be made within
the next two months. The annual meeting of the company
is scheduled for the third Thursday in June, and it is likely
that a special meeting of the stockholders to approve the
action will be called. . . ."
It is evident that Paramount, seeing the handwriting on
the wall as a result of the Government's suit, is trying to
devise all kinds of schemes to preserve its theatre circuit.
But Harrison's Reports doubts whether it will be al-
lowed by the Department of Justice to employ subterfuges,
for creating two companies so that each may take over one
of the two functions of the present company so as to re-
tain control over the theatres is nothing but a subterfuge.
If I understand correctly the intention of the Govern-
ment, as expressed in the suit, the Department of Justice is
seeking to compel the theatre-owning producers to divest
themselves of their theatre holdings entirely. The Govern-
ment feels that ownership of theatres by producer-distribu-
tors is contrary to public policy and it is unlikely that it
will permit either Paramount or any other theatre-owning
producer to retain over their theatres even an indirect
interest.
Isn't it about time that the producers stopped "kidding"
themselves ? Certainly they cannot fool the Government.
IS PARAMOUNT NOW TO MAKE
DELIVERY OF "CHEATERS" A
REGULAR PRACTICE?
"The Beachcomber," the British-made picture with
Charles Laughton, which Paramount has announced for
release, is not a Paramount-made picture.
"Little Orphan Annie," which this company has al-
ready released, is not a Paramount-made picture.
"One-third of a Nation," now in the cutting room,
which will be released by Paramount, is not a Paramount-
made picture.
Since the last mentioned picture has not yet been shown,
I don't know whether it is a good or bad picture, but
the other two — "The Beachcomber" and "Little Orphan
Annie," have been shown and they are decidedly poor.
According to the December 21 issue of Variety, Para-
mount intends to release at least five outside pictures this
season.
No exhibitor would, I am sure, object if Paramount
should take over meritorious pictures, but when it takes
over pictures such as "Little Orphan Annie" and "The
Beachcomber," it is different.
BOX-OFFICE PERFORMANCES OF
1938-39 SEASON'S PICTURES— No. 2
Metro-Gold wyn-Mayer
1937-38
"Rich Man Poor Girl," with Robert Young, Lew Ayres,
and Ruth Hussey, produced by Edward Chodorov and di-
rected by Reinhold Sehunzel, from a screen play by Joseph
A. Fields and Jerome Chodorov : Good-Fair.
"Blockheads," with Stan Laurel and Oliver Hardy, pro-
duced by Hal Roach, Jr., and directed by John G. Blystone,
from a screen play by Charles Rogers, Felix Adler, James
Parrott, Harry Langdon and Arnold Belgard : Fair.
"Marie Antoinette," with Norma Shearer, Tyrone
Power, John Barrymore, and Robert Morley, produced by
Hunt Stromberg and directed by W. S. Van Dyke II, from
a screen play by Claudine West, Donald Ogden Stewart
and Ernest Vajda: Very Good-Good.
Forty-five pictures have been released. Grouping the
pictures of the different ratings from the beginning of the
season, we get the following results :
Excellent, 1 ; Excellent-Very Good, 1 ; Excellent-Good,
3; Very Good-Good, 10; Very Good-Fair, 3; Very Good-
Poor, 1 ; Good, 8; Good-Fair, 13; Good- Poor, 2; Fair, 2;
Fair -Poor, 1.
Forty-four pictures were released in the 1936-37 season.
They were rated as follows :
Excellent, 3; Excellent- Very Good, 3; Very Good, 2;
Very Good--Good, 3; Good, 3; Good-Fair, 6; Good-Poor,
1 ; Fair, 13; Fair- Poor, 6; Poor, 4.
1938-39
"Three Loves Has Nancy," with Janet Gayrtor, Robert
Montgomery, and Frauchot Tone, produced by Norman
Krasna and directed by Richard Thorpe, from a screen
play by Bell and Samuel Spewack, George Oppenheimer,
and David Hertz: Good.
"Boys Town," with Spencer Tracy, Mickey Rooney, and
Henry Hull, produced by John W. Considine, Jr., and
directed by Norman Taurog, from a screen play by John
Meehan and Dore Schary : Excellent-V ery Good.
"Too Hot to Handle," with Clark Gable, Myrna Loy,
and Walter Pidgeon, produced by Lawrence Weingarten
and directed by Jack Conway, from a screen play by
Laurence Stalliags and John Lee Mahin : Excellent- Very
Good.
"Vacation from Love," with Denis O'Keefe, Florence
Rice, and Reginald Owen, produced by Orville O. Dull and
directed by George Fitzmaurice, from a screen play by
Harlan Ware and Patterson McNult: Good-Fair.
"Stablemates," with Mickey Rooney and Wallace Beery,
produced by Harry Rapf and directed by Sam Wood, from
a screen play by Leonard Praskins and Richard Alaibaum :
Very Good-Good.
"Young Dr. Kildare," with Lew Ayres, Lionel Barry-
more, and Lynne Carver, directed by Harold S. Bucquet,
from a screen play by Willis Goldbeck and Harry Ruskin :
Good-Fair.
"Listen Darling," with Judy Garland, Freddie Bartholo-
mew, Mary Astor, and Walter Pidgeon, produced by Jack
Cummings and directed by Edwin L. Marin, from a screen
play by Elaine Ryan and Anne M. Chapin : Good-Fair.
"The Citadel," with Robert Donat and Rosalind Russell,
produced by Victor Saville and directed by King Vidor,
from a screen play by Ian Dalrymple, Frank Wead, and
Elizabeth Hill : Good-Fair.
"The Great Waltz," widi Luise Rainer, Fernand Gravet,
and Miliza Korjus, directed by Julian Duvivier, from the
screen play' by Samuel Hoffenstein and Walter Reisch :
Very Good-Fair.
"Spring Madness," with Maureen O'SulIivan, Lew
Ayres, and Burgess Meredith, produced by Edward Chod-
orov and directed by S. Sylvan Simon, from a screen play
by Edward Chodorov : Good-Fair.
"The Shining Hour," with Joan Crawford, Margaret
Sullavan, Melvyn Douglas, and Robert Young, produced
by Joseph L. Mankiewicz, and directed by Frank Borzage,
from a screen play by Jane Murfin and Ogden Nash : Very
Good-Good.
Eleven pictures have already been released. Grouping
the pictures of the different ratings from the beginning of
the season, we get the following results:
Excellent- Very Good, 2 ; Very Good-Good, 2 ; Very
Good-Fair, 1 ; Good, 1 ; Good-Fair, 5.
The first eleven pictures in the 1937-38 season were rated
as follows :
Very Good, 1; Good-Fair, 1; Fair, 6; Fair-Poor, 2;
Poor,l.
Entered as second-class matter January 4, 1921, at the post offioe at New York, New York, under the act of March 2, 1879.
Harrison's Reports
Yearly Subscription Rates: 1270 SIXTH AVENUE Published Weekly by
United States $15.00 R™™ IQIO Harrison's Reports, Inc.,
U. S. Insular Possessions. 16.50 ROOm 1014 Publisher
Canada 16.50 New York, N. Y. P. S. HARRISON, Editor
Mexico, Cuba, Spain 16.50 , „ .. _. . _ . „ .
Great Britain 15.75 AMotionP.ctureReviewingServ.ee ,
Australia, New Zealand, Devoted Chiefly to the Interests of the Exhibitors Established July 1, 1919
India, Europe, Asia .... 17.50
,r„ „ Its Editorial Policy: No Problem Too Big for Its Editorial Circle 7-4622
6oc a copy Columns, if It is to Benefit the Exhibitor.
A REVIEWING SERVICE FREE FROM THE INFLUENCE OF FILM ADVERTISING
Vol. XXI SATURDAY, JANUARY 28, 1939 No. 4
ALLIED NEITHER ACCEPTS NOR
REJECTS DISTRIBUTOR TRADE
REFORM DRAFT
At the first meeting of the Allied board of directors last
week at the Carlton Hotel, in Washington, D. C, the Allied
negotiating committee reported that it had received from
the distributors on January 14 a revised trade reform draft,
that this draft was not different materially from the draft it
had received on December 1, and that the proposals con-
tained in it were not much different from the oral proposals
it had received from them as outlined at the meeting in
Chicago on November 3. The only points of difference, the
report said, were minor clarifications of language.
The chairman reported also that, along with the new
draft, it had received a "wholly tentative outline of an
arbitration set-up, not complete as to either principles or
details"; that the distributors requested counsel for Allied
to sit in with their counsel so as to aid in the drafting of a
suitable declaration of principles, as well as in the working
out of the arbitration rules and of other details, in addition
to suggesting the clarification of the language of whatever
of the proposals are obscure.
The chairman informed the board that the new draft
contains the maximum distributor concessions.
The negotiating committee informed the board that the
proposals do not, in its opinion, meet with the requirements
of the Chicago resolution calling for a complete plan in-
cluding the details of arbitration. For this reason it could
not recommend either its acceptance or its rejection, but it
requested for authorization to continue its negotiations up
to March 1, either directly or through the Allied counsel,
to ascertain whether a satisfactory arbitration plan could
or could not be evolved, and whether the language of the
provisions of the draft could or could not be clarified satis-
factorily, so as to enable the committee to determine
whether it should recommend the acceptance or the rejec-
tion of the proposals.
The committee recommended further that, in order that
misunderstandings be prevented, the Allied board reaffirm
the position Allied had taken in Chicago — that nothing
that may be submitted by the distributors in any plan shall
"hamper or preclude Allied from seeking a larger measure
of relief through prosecution of its program of legislation
and litigation and that such program be pursued unceas-
ingly and with vigor."
At the Tuesday afternoon session, the Allied board
passed the following resolution :
"RESOLVED :—
"1. That the Board of Directors of Allied States Asso-
ciation of Motion Picture Exhibitors accepts and approves
the unanimous report of the Negotiating Committee.
"2. That the distributors' draft of proposed trade re-
forms dated December 1, as revised January 14, is not
sufficiently definite or complete to enable the Board advis-
edly to take final acceptance or rejection.
"3. That the Negotiating Committee is authorized to
continue its efforts to secure a draft for the consideration
of the Board which will meet the Board's requirement, set
forth in its resolution dated November 3, that it must have
a complete and definite plan, including the details of arbi-
tration, before it can act.
"4. That any further report the Committee may have to
make shall be submitted to the Board not later than March
1, 1939.
"5. After thorough study of the proposals submitted, and
presupposing that a legal and workable wording of such
proposals may be evolved, the Board feels that such pro-
posals fall far short of curing the industry evils of which
Allied and the independent exhibitors have complained for
years ; and the Board, therefore, reiterates the stand taken
in its former resolution that nothing in any plan which may
be reported shall in any way hinder or preclude Allied
States Association from seeking a larger measure of relief
than that offered by the distributors by legislation, litiga-
tion, or otherwise ; and, further that the Allied campaign
of legislation and litigation be prosecuted unceasingly and
with vigor."
At the Wednesday session Col. H. A. Cole was elected
president, Mr. Abram F. Myers was reelected general
counsel, Mr. Herman Blum treasurer, Mr. Charles Olive
was elected secretary, and Mr. P. J. Wood recording
secretary.
The following were elected as executive committeemen :
W. A. Steffes, Sidney Samuelson, Martin G. Smith, Abram
F. Myers, Col. H. A. Cole, and Nathan Yamins.
Minneapolis was chosen as the place of the next national
convention, the date to be determined by the board of
directors.
YOU ARE RIGHT,
MR. DUDLEY NICHOLS!
RIGHT, MR. HOWARD BARNES!
According to Mr. Howard Barnes, motion picture critic
of the New York Herald Tribune, Mr. Dudley Nichols,
the famous Hollywood script writer, while acting as master
of ceremonies for the New York Film Critics' awards the
first week in January, said a few unpleasant things about
picture making in Hollywood.
"The Cinema," said Mr. Nichols, "desperately needs
strong, fearless criticism. One of the weaknesses of Holly-
wood, which is filled with talented, intelligent people, is
that it has no power of self-criticism. Every third produc-
tion is colossal in the public prints. You have to wait for
the New York release before you can gauge the actual
worth of a film. As a result, when business falls off Holly-
wood is confused.
"According to the local press, they have been making
masterpieces, but the public stays away. ..."
Evidently Mr. Nichols has not been reading Harrison's
Reports ; otherwise he would not have said that motion
pictures need "strong, fearless criticism." That is what
Harrison's Reports has been giving weekly ever since it
was founded twenty years ago — strong, fearless criticism.
Incidentally, Mr. Barnes, in commenting upon some of
the pictures as a result of Mr. Nichols' criticism, said the
following :
"If you are inclined to doubt Mr. Nichols' contention that
as far as picture writing is concerned, 'the pasture is dry,'
you can easily be convinced by attending some of Holly-
wood's offerings since the start of a New Year. Several of
them boast more than ordinary amount of technical crafts-
manship, but none of them impinge even remotely on re-
ality. Antique themes, stock situations and dusty dramatic
devices have been passed off for significant story material.
No amount of expert renovating would have succeeded in
making most of it acceptable as first-class screen enter-
tainment.
" 'Trade Winds' ... is a perfect case in point. Tay
Garnett, who directed the detective melodrama, decided to
have authentic settings for the action as it shuttled back
and forth across the Pacific from San Francisco to Singa-
pore, so he went out and photographed them himself. They
are colorful and intriguing. The only trouble is that he
failed to arrange for a significant narrative to go with them.
The fable of a sleuth chasing a suspected murderess half
way around the world, only to fall in love with her and
clear her fair name, is so rusty that even the good dialogue
of Alan Campbell and Dorothy Parker hasn't been able to
brighten it appreciably. . . .
{Continued on last />(i</r)
14
HARRISON'S REPORTS
January 28, 1939
"Son of Frankenstein" with Boris Karloff,
Basil Rathbone, Bela Lugosi, Lionel Atwill
and Josephine Hutchinson
(Universal, January 13; time, 98 min.)
Very good. Universal has a worthy successor in tin's to
the first "Frankenstein" picture, for, though less horrific,
it is as exciting as the other. The production, acting, and
direction are ot a superior quality. As in the first picture,
there are situations that hold one in tense suspense, sending
chills down one's spine, and others that tend to touch one's
emotions. The eeriness of the settings, both indoor and out-
door, adds considerably to the excitement : —
Basil Rathbone, son of the scientist who had created the
monster, arrives at the town of Frankenstein, there to live
with his wife (Josephine Hutchinson), child (Donnie
Dunagan), and servants in the castle he had inherited from
his father. Being a scientist like his father, Rathbone is
thrilled when he reads his father's notes on his creation of
the monster. The townsfolk refuse to have anything to do
with Rathbone, whose father had brought them so much
misery and unhappiness ; but he disregards them, refusing
to listen to the warnings of Lional Atwill, the police in-
spector, who had cautioned him against trying anything in
his father's field. Rathbone is thrilled when he learns,
through Bela Lugosi, a deformed, murderous looter of
graves, that the monster still lived, although he was too ill
to move. Rathbone brings the monster back to life; the
fact that it commits murders, again terrorizing the neigh-
borhood, does not stop him from his work. In a quarrel
with Lugosi, Rathbone is forced to kill him in self defense.
The monster is grief-stricken, for Lugosi had been the only
person who had had control over him. In his grief, he goes
after Rathbone's child ; it is then that Rathbone awakens to
the wrong he had done. Together with Atwill he rushes to
save his child ; Atwill grabs the child and Rathbone dis-
poses of the monster by pushing it into a boiling natural
sulphur pool. Rathbone turns over the castle to the town,
to do with as they pleased; he and his family leave the
country.
Willis Cooper wrote the screen play, and Rowland V.
Lee produced and directed it. In the cast arc Emma Dunn,
Edgar Norton, Lawrence Grant, and others.
It may frighten children. Suitable mostly for adults.
Class B.
"Boy Slaves" with Anne Shirley
(RKO, February 10; time, 71 min.)
A grim, depressing melodrama, with a sordid back-
ground. Aside from good performances, there is not much
in it to recommend ; it is hardly the type of entertainment
that motion-picture goers want to see today, for it is cheer-
less. The comic relief, which is a take-off on the antics of
the original "Dead End" boys, is too familiar to provoke
laughter. There is no romance. As a matter of fact, it seems
as if the part played by Anne Shirley was written in as an
afterthought — so as to have one well-known name to
bolster up the weak cast : —
A group of young boys, living as hoboes, are arrested for
petty thievery. They are bailed out by a supposedly civic-
minded citizen, who offers to give them employment at his
turpentine plant in the woods. The boys, with the exception
of their leader, willingly take the jobs. But once they get to
the plant they realize they had been tricked, for what they
had been brought into was peonage — they were forced to
sleep in quarters surrounded by barbed wire, eat the poor
food for which they were charged exorbitant prices, and
work long hours ; they received no salary, for they were
constantly in the debt of the company for things they had
bought from them. Anne Shirley, a young servant working
for the owner, in an effort to protect herself from the un-
desired attentions of Alan Baxter, the foreman, goes to the
boys' but and pleads for protection. Baxter enters and
there follows a quarrel, during which one of the boys is
shot. Baxter knocks over an oil lamp and a fire breaks out.
The boys, together with Miss Shirley, escape. But even-
tually they are caught and brought to trial. The judge feels
pity for them and sends them to a state farm, there to learn
a trade. He then enters federal charges against the owner
on the grounds of peonage.
Albert Bein wrote the story, and he and Ben Orkow, the
screen play; P. J. Wolf son directed and produced it. In
the cast are Roger Daniel, James McCallion, Johnny
Fitzgerald, Walter Ward, and others.
It is hardly suitable for children. Class B.
"Wings of the Navy" with George Brent,
John Payne and Olivia deHavilland
(Warner Bros., February 11 ; time, 88^ min.)
Excellent from a mechanical and technical standpoint ;
it is a fine tribute to the United States Naval Flying serv-
ice and to its system of training young men for the service.
But as entertainment, its appeal will be directed mainly to
those who are interested in aviation, for, aside from the
thrilling air work, which is enhanced by excellent photog-
raphy, the story leaves one cold, since it deals for the most
part with the method of training and the technical side of
aviation. The personal drama involving two brothers and
a young girl in a triangle love affair is so familiar that it
fails to impress or to touch one's emotions. The two most
thrilling scenes are those which show a test pilot and later
the hero making a test flight of a new machine. The one
involving the hero is done so dramatically that spectators
will be limp by the time the hero's plane touches the ground.
Frank Mcflugh, as a student aviation enthusiast, contri-
butes some good comedy. Most of the action takes place at
the Pensacola and San Diego naval air stations: —
George Brent, a naval aviation officer, is angry when his
young brother (John Payne) leaves submarine service for
aviation. But once Payne shows his ability as an aviator.
Brent is proud of him. Payne falls in love with Miss
deHavilland, his brother's fiancee; she, too, loves him. But
when Brent meets with an accident which grounds him,
both Payne and Miss deHavilland realize that they must
forget their own feelings so as not to hurt Brent. Miss
deHavilland knows that the only thing that could make
Brent happy again would be the successful testing of a
new type plane he had designed. After one pilot is killed
while testing it, Payne decides to take it up himself; he
does this against the wishes of Brent, who feared for his
safety. But Payne, after a thrilling test, brings the plane
down safely. Brent is overjoyed. Eventually he senses the
love of his fiancee and brother for each other ; he frees
Miss deHavilland to marry Payne.
Michael Fes: ier wrote the original screen play ; Lloyd
Bacon directed it, and Hal B. Wallis produced it. In the
cast are John Litcl, Victor Jory, Henry O'Neill, John
Ridgely, John Gallaudet, and others.
Suitability, Class A.
"The Mysterious Miss X" with Michael
Whalen, Mary Hart and Chick Chandler
(Republic, January 10; time, 64 min.)
A mildly entertaining murder-mystery melodrama with
comedy situations, parts of which are pretty silly. Since the
comedy is stressed, it is difficult for the spectator to take
the melodramatic angle seriously. Moreover, the outcome
is obvious ; and, although the murderer is not identified
until the end, it is simple for one to guess his identity long
before then. The plot is far-fetched, and is developed in an
unbelievable way : —
Michael Whalen and Chick Chandler, two actors
stranded in a small town, having become accidentally in-
volved in the murder of a man in the room next to
Whalen's, are arrested and taken to jail. They naturally
deny knowing anything about the case. When the police
search Whalen's belongings, they find a certificate from
Scotland Yard showing that he was an officer who had been
sent to the United States on an important mission, and,
not realizing that this was a prop Whalen had used in his
play, they release them and treat them with courtesy. Mary
Hart, whose father had been arrested for the murder,
pleads with Whalen to solve the case. The murdered man's
widow, too, pleads with Whalen to help her. offering him
an advance fee of $1,000. Having fallen in love with Miss
Hart, Whalen agrees to stay. He gets Miss Hart into
trouble by his schemes to trap the murderer. By the time
the police learn that he was a fraud, he solves the case by
proving that the victim's lawyer had committed the murder
because of the way the victim had been treating his wife,
whom the lawyer loved. He had killed the second man be-
cause he knew too much. With the case settled, Whalen
and Miss Hart decide to marry; and Chandler, against his
will, marries the hotel manager, who had attached herself
to him.
George W. Yates wrote the story, and Olive Cooper, the
screen play; Gus Meins directed it, and Herman Schlom
produced it. In the cast are Mabel Todd, Frank M.
Thomas, Regis Toomcy, and others.
The murders make it unsuitable for children. Class B.
January 28, 1939
HARRISON'S REPORTS
15
"They Made Me a Criminal"
with John Garfield
{Warner Bros., January 28; time, 92 mm.)
A strong melodrama, with very good box-office possi-
bilities. The title is misleading — one would imagine this
to be a gangster melodrama ; it is rather a story of regen-
eration. The strength of this picture lies, not so much in
the story, as in the excellent performances. Were it not for
the effective way in which John Garfield portrays the hero,
he would be an extremely unsympathetic character, for his
actions arc unpleasant almost to the end ; one cannot, how-
ever, help feeling pity and respect for him. Some situations
touch one's emotions ; others, provoke hearty laughter. One
situation, although of slight importance to the story, is so
thrilling that audiences will not soon forget it ; it shows
Garfield and the five "Dead End" boys swimming in an
irrigation tank in which they had been caught when the
water started to drain out. As an added attraction for men
there are two bouts that are thrillers. The romance is
handled effectively : —
In order to prevent a newspaper reporter from printing
a story about Garfield, a champion fighter, telling the public
that Garfield, who was thought to be a home boy, was, in
reality, a drinker and carouser, Robert Gleckler, Gar-
ficld's manager, hits the reporter over the head with a
bottle ; the reporter dies. Gleckler and Garfield's girl-
friend (Ann Sheridan) take Garfield, who had passed out
in a drunken stupor, to a farmhouse. They take his money,
even his wrist watch, and run away ; but they are both
killed when their automobile is wrecked. Garfield reads the
story in the papers the next morning; also that the police
believed him to be derid, a victim of the car crash. He
leaves town, travelling as a hobo. Hungry and worn out,
he stops at the date farm run by Gloria Dickson and May
Robson, and by five young tough boys, who had been pa-
roled in their care. Garfield, who had believed that a man
was a "sucker" to do a kind deed, gradually changes.
When he learns that with $2,000 the boys could open a gas
station and help Miss Dickson along, he signs up to fight a
travelling boxer, who offered $500 a round to any one who
could stay in the ring with him. Claude Rains, a New York
detective, who had always felt that the dead man in the car
had not been Garfield, sees a picture of a fighter in a maga-
zine ; this had been snapped by one of the boys and sent to
a magazine. From the pose, Rains recognizes Garfield ; he
sets out for the small town. Garfield, who had seen Rains
and had decided not to fight, decides to risk his freedom so
as not to disappoint the boys and Miss Dickson, who loved
him. He goes into the ring and tries to fight a different
way, so that Rains would not recognize him ; but he has to
revert to his own style in order to stay in long enough to
win $2,000. Rains visits him in the dressing room and Gar-
field admits his identity. They prepare to leave ; but when
the train pulls in, Rains, who felt that Garfield might he
innocent, decides to let him go ; he cautions him to keep
his picture out of papers.
Bertram Millhauser and Beulah M. Dix wrote the story,
and Sig Herzig, the screen play ; Busby Berkeley directed
it, and Benjamin Glazer produced it. In the cast are John
Ridgely, Barbara Pepper, William Davidson, and others.
One situation at the beginning is pretty sexy ; also a
murder is committed. Therefore, suitability, Class B.
"The Arizona Wildcat" with Jane Withers
and Leo Carrillo
(20th Century-Fox, February 3 ; time, 69 min.)
Good entertainment. It should appeal, not only to the
Jane Withers fans, but also to the followers of western
melodramas. Without sacrificing any of the exciting action
that is usually a part of outdoor pictures of this type, the
author succeeded in injecting comedy, human interest, and
a pleasant romance. There is plentiful horseba k riding,
shooting, and fighting — enough to satisfy the m ist ardent
western fans. Jrne and Leo Carrillo are a good comedy
team ; their antics provoke hearty laughter each time they
appear. The action takes place in the year 1870: —
Orphan Jane, whose father had been killed by bandits,
lived with Carrillo, his wife and five sons. She had her
suspicions about Henry Wilcoxon, the Sheriff, for he had
never made any real effort to apprehend the gang of out-
laws who had been terrorizing the district and stealing gold
shipments. She accidentally finds out that Carrillo, in his
youth, had been known as a bandit leader ; by clever ques-
tioning, she finds out that he had robbed the rich to help
the poor. When an innocent young man (William Henry),
who knew too much about Wilcoxon, is imprisoned, Jane,
unknown to Carrillo. rounds up his former followers again
to follow their lender so as to save Henry. At first Carrillo
is frightened at the idea, but the excitement soon gets the
best of him and he goes forth with his mi n. Hut they are all
captured and brought to trial. Jane saves them by proving
Wilcoxon's guilt — she had found several gold shipments
hidden in his room. Wilcoxon and his men are rounded up;
Henry is freed when he proves his innocence and shows
the judge evidence of Wilcoxon's murderous activities.
Carrillo is made Sheriff, which pleases his family and
Jane very much. Henry marries the village school teacher.
Frances Hyland and Albert Ray wrote the story, and
Barry Trivers and Jerry Cady, the screen play ; Herbert I.
Leeds directed it, and John Stone produced it. In the cast
are Pauline Moore, Douglas Fowley, and Etienne Girardot.
Suitability, Class A.
"Burn 'Em Up O'Connor" with
Dennis O'Keefe, Cecilia Parker
and Nat Pendleton
(MGM, January 13; time, 69'/2 min.)
A fairly good program murder-mystery melodrama.
Since most of the action takes place at an automobile race-
track, where the deaths occur, several races are worked
into the plot; these tend to heighten the excitement. The
murders are committed in so clever a way that it is likely
that most spectators will be surprised at the solution and
at the murderer's identity. There is occasional comedy to
relieve the tension, and a pleasant, though routine, ro-
mance : —
Dennis O'Keefe, who wanted to become an automobile
racer, finally realizes his ambition when Harry Carey,
automobile manufacturer and manager of several voun'g
men who raced his cars, signs him up. The men in Carey's
outfit are depressed, since a few of their drivers had met
with death on the track; they felt they were jinxed.
O'Keefe's breezy manner annoys them ; he is particularly
annoying to Carey's daughter (Cecilia Parker), with
whom he had fallen in love. Everyone's nerves are on edge
when two more racers meet with death on the track.
O'Keefe, with the assistance of his seemingly stupid me-
chanic (Nat Pendleton), finally proves that the guilty per-
son was Charley Grapewin, the company doctor ; he would
inject drops into the drivers' eyes, saying it would give
them clear vision; instead the drops would blind them
during the race and they would go to their deaths, not being
able to see where to drive. Grapewin did this because his
own son died while racing for Carey, whom he hated. Miss
Parker forgives O'Keefe, promising to marry him.
Sir Malcolm Campbell wrote the story, and Milton
Merlin and Byron Morgan, the screen plav ; Edward
Sedgwick directed it, and Harry Rapf produced it. In the
cast are Addison Richards, Alan Curtis, Tom Neal, and
others.
Suitability, Class A.
"Mr. Moto's Last Warning" with
Peter Lorre, Ricardo Cortez
and Virginia Field
(20th Century-Fox, January 20; time, 71 min.)
Action fans will find this melodrama to their liking, for
it moves at a fast pace, holding one's interest throughout.
As is the case in most of the pictures in this series, the
story is highly far-fetched; but this is not objectionable,
since it offers opportunities for exciting action. Some of
the situations, particularly those in which Peter Lorre him-
self has a hand, are thrilling. The thrills are provoked as a
result of the clever means Lorre, whose life is often endan-
gered, employs to outwit the conspirators. Laughter is pro-
voked on a few occasions by the actions of a silly English-
man. The action takes place at Port Said : —
Lorre, an international seceret service agent, learns of a
plot to disrupt the friendly relations between England and
France. His suspicions center on Ricardo Cortez^ an actor
at a local playhouse. For a time he is able to work with a
free hand, for the conspirators believed that they had
killed him when, in reality, they had killed his assistant
who, according to instructions, had posed as his chief.
Lorre learns that the conspirators were planning to destroy
ships of both nations when they would arrive at Port Said
for war maneuvers. He is captured by the conspirators,
who tie him in a sack, and throw him into the water: but
Lorre is able to cut his way out and return to the scene of
flie crime in time to prevent the explosion. Cortez is killed
by Virginia Field, a young cafe owner, who had believed
he loved her but had learned differently. She thereby saves
Lorre's life. The other conspirators are captured.
Philip MacDonald and Norman Foster wrote the origi-
nal screen play; Norman Foster directed it, and S*>1 M.
Wurtzel produced it. In the cast are John Carradine,
George Sanders, Joan Carol, Margaret [rving, and others.
The murders make it unsuitable for children. Good for
adults. Class B.
16
HARRISON'S REPORTS
January 28, 1939
"... 'Zaza,' at the Paramount, and 'Going Places,' at the
Strand, both start with two strikes against them by em-
ploying yarns that should have been forgotten long ago.
The former, with George Cukor doing some of his fanciest
directing, and Claudette Colbert contributing a remarkably
convincing portrayal of an unconvincing part, is so dated
that it fairly cries out for interment in a museum. . . .
" 'Going Places' is none other than your old friend 'The
Hottentot,' made all over again with Dick Powell as the
gentleman rider impersonator and incidental musical num-
bers. Thanks to the great trumpet player, Louis Arm-
strong, and that extraordinary swing singer, Maxine Sulli-
van, the latter interludes are entertaining, but not enough
to make 'Going Places' seem like anything but a badly
warmed over screen dish."
The following is what this paper said partly about these
three pictures :
"Trade Winds" : "Just a fair comedy-melodrama. The
story is extremely thin and unbelievable."
"Zaza" : "The story creaks with age. What may have
been considered a great emotional drama years ago strikes
one today as being silly."
"Going Places" : "A fairly good comedy ... it is doubt-
ful if [itj will do more than fairly well."
Incidentally, "Zaza" was produced by Paramount twice
before: in 1915, with Pauline Frederick, and in 1923 with
Gloria Swanson. Both times it "flopped." For this reason
Paramount should not be forgiven for making it the third
time, wasting more than $1,500,(100 this time ; it could have
made three pictures with the money and the star values it
has wasted.
"Going Places" was produced also in 1916, by Triangle,
with Raymond Hatton; in 1923, by First National ; and in
1929, by Warner Bros. There is something wrong with a
company when it produces a story the fourth time, particu-
larly since the only version that went over was the first.
box-office Performances of
1938-39 season's pictures— no. 3
First National
1938-39
"Secrets of an Actress," with Kay Francis, George
Brent, and Ian Hunter, produced by David Lewis and di-
rected by William Keighley, from a screen play by Milton
Krims, Rowland Leigh, and Julius J. Epstein: Fair-Poor.
"Four Daughters," with Priscilla Lane, Claude Rains,
Jeffrey Lynn, and John Garfield, produced by Henry
Blanke and directed by Michael Curtiz, from a screen play
by Julius J. Epstein and Lenore Coffee: Excellent-Good.
"Garden of the Moon," with Pat O'Brien, Margaret
Lindsay, John Payne, and Johnnie Davis, produced by
Lou Edelman and directed by Busby Berkeley, from a
screen play by Jerry Wald and Richard Macauley : Very
Good-Fair.
"Broadway Musketeers," with Margaret Lindsay, Ann
Sheridan, and John Litel, produced by Bryan Foy and di-
rected by John Farrow, from a screen play by Don Ryan
and Kenneth Garnet : Fair-Poor.
"Girls on Probation," with Jane Bryan, Ronald Reagan,
and Sheila Bromley, produced by Bryan Foy and directed
by William McGann, from a screen play by Crane Wilbur :
Fair.
"Brother Rat," with Wayne Morris, Priscilla Lane,
Ronald Reagan, and Jane Bryan, produced by Robert Lord
and directed by William Keighley, from a screen play by
Richard Macauley and Jerry Wald: Very Good-Fair.
"Angels with Dirty Faces," with James Cagney, Pat
O'Brien, and Ann Sheridan, produced by Sam Bischoff
and directed by Michael Curtiz, from a screen play by John
Wexley and Warren Duff : Excellent.
Seven pictures have already been released. Grouping the
pictures of the different ratings from the beginning of the
season, we get the following results :
Excellent, 1; Excellent-Good, 1; Very Good-Fair, 2;
Fair, 1 ; Fair-Poor, 2.
The first seven pictures in the 1937-38 season were rated
as follows :
Very Good-Good, 1; Good, 2; Good-Fair, 2; Fair, 1;
Fair-Poor, 1.
Paramount
1937-38
"Give Me a Sailor," with Martha Raye, Bob Hope, and
Betty Grable, produced by Jeff Lazarus and directed by
Elliott Nugent, from a screen play by Doris Anderson and
Frank Butler: Good-Fair.
"Spawn of the North," with George Raft, Henry Fonda,
Dorothy Latnour, and Louise Piatt, produced by Albert
Lewin and directed by Henry Hathaway, from a screen
play by Jules Furthnian and Talbot Jennings: Very Good-
Good.
Fifty-six pictures have been released. Grouping the pic-
tures of the different ratings, including Westerns, from the
beginning of the season, we get the following results:
Excellent-Very Good, 1 ; Excellent-Good, 1 ; Very Good,
1; Very Good-Good, 4; Very Good-Fair, 5; Good, 3;
Good-Fair, 13; Good-Poor, 7; Fair, 11; Fair-Poor, 7;
Poor, 3.
Fifty-three pictures were released during the 1936-37
season, excluding the Westerns; they were rated as
follows
Excellent, 1; Excellent-Very Good, 2; Very Good, 3;
Very Good-Good, 5 ; Good, 9; Good-Fair, 4; Fair, 9; Fair-
Poor, 17; Poor, 3.
1938-39
"Pride of the West," with William Boyd and George
Hayes, produced by Harry ir" barman and directed by
IasHc Sclander, from a screen play by Nate Watt : Good-
Fair.
"Sing You Sinners," with Bing Crosby, Fred MacMur-
ray, and Ellen Drew, produced and directed by Wesley
Ruggles, from a screen play by Claude Binyon : Very
Good-Fair.
"In Old Mexico," with William Boyd and George Hayes,
produced by Harry Sherman and directed by Edward D.
Venturing from a screen play by Harrison Jacobs: Good-
Poor.
"Campus Confes.Mons," with Betty Grable, William
Henry, and Hank I.uisetti, directed by George Archain-
baud, from a screen play by Lloyd Corrigan and Erwin
Gelsey: Fair-Poor.
"Sons of the Legion," with Lynne Overman, Donald
O'Connor, and Tim Holt, produced by Stuart Walker and
directed by James Hogan, from a screen play by Lillie
Hay ward, Lewis Foster, and Robert F. McGowan : Fair-
Poor.
"King of Alcatraz," with J. Carrol Naish, Lloyd Nolan,
and (jail Patrick, directed by Robert Florey, from a screen
play by Irving Reis : Good-Fair.
"Touchdown Army," with John Howard, Mary Car-
lisle, and Robert Cummings, directed by Kurt Neumann,
from a screen play by Lloyd Corrigan and Erwin Gelsey :
Fair.
"Arkansas Traveler," with Bob Burns, Fay Bainter,
Jean Parker, and John Beal, produced by George M.
Arthur and directed by Alfred Santell, from a screen play
by Viola Brothers Shore and George S. Perry : Very
Good- Good.
"Mysterious Rider," with Douglass Dumbrille and Char-
lotte Fields, produced by Harry Sherman and directed by
Lesley Sclander, from a screen play by Maurice Geraghty :
Good- Fair.
"Men with Wings," with Fred MacMurray, Ray Mil-
land, and Louise Campbell, produced and directed by
William A. Wellman, from a screen play by Robert
Carson : Very Good-Good.
"Illegal Traffic," with J. Carrol Naish, Mary Carlisle,
and Robert Preston, produced by William C. Thomas and
directed by Louis King, from a screen play by Robert Yost,
Lewis Foster, and Stuart Anthony : Good-Fair.
"If I were King," with Ronald Colman, Frances Dee,
and Basil Rathbone, produced and directed by Frank Lloyd,
from a screen play by Preston Sturgis : Very Good-Good.
"Thanks for the Memory," with Bob Hope and Shirley
Ross, produced by Mel Shauer and directed by George
Archainbuad, from a screen play by Lynn Starling: Good-
Fair.
Thirteen pictures have already been released. Grouping
the pictures of the different ratings from the beginning of
the season, we get the following results :
Very Good-Good, 3 ; Very Good-Fair, 1 ; Good-Fair, 5 ;
Good- Poor, 1 ; Fair, 1 ; Fair-Poor, 2.
The first thirteen pictures in the 1937-38 season were
rated as follows :
Very Good, 1 ; Very Good-Good, 1 ; Good, 2 ; Fair, 4 ;
Fair-Poor, 4; Poor, 1.
Entered as second-class matter January 4, 1921, at the post office at New York, New York, under the act of March 3, 1879.
Harrison's Reports
Yearly Subscription Rates: 1270 SIXTH AVENUE Published Weekly by
United States $15.00 R™m 1 «1 9 Harrison's Reports, Inc.,
U. S. Insular Possessions. 16.50 ROOm 101i Publisher
Canada 16.50 New York, N. Y. P. S. HARRISON, Editor
Mexico, Cuba, Spain 16.50 . ., _. . _ „ .
r.reit Rritnin 1>!7S A Motion Picture Reviewing Service
Australia, New ' Zealand,' Devoted Chiefly to the Interests of the Exhibitors Established July 1, 1919
India, Europe, Asia .... 17.50
,K„ . Its Editorial Policy: No Problem Too Big for Its Editorial Circle 7-4622
6oc a copy Columns, if It is to Benefit the Exhibitor. . .
A REVIEWING SERVICE FREE FROM THE INFLUENCE OF FILM ADVERTISING
Vol. XXI SATURDAY, FEBRUARY 4, 1939 No. 5
KEEPING IN TOUCH WITH LIFE —
THAT'S WHAT BRINGS CREATIVE
SUCCESS
In the story which Elliot Arnold wrote in the Novem-
ber 28 issue of the New York World-Telegram, about Dick
Simon and Max Schuster, of Simon & Schuster, the New
York City book publishers, Mr. Simon is quoted in one
part of it as having said the following when he stated that
they sell the books they publish because they publish what
the people want :
"We try to keep in touch with what's going on around us.
We don't want to feel we are publishers — far above or away
from life. We try to keep very close to things. We try to
retain our amateur standings as human beings."
Harrison's Reports hopes that every producing execu-
tive in Hollywood has read these words, and has benefited
by them, for that is exactly what ails Hollywood. For
all that anybody knows Hollywood is not part of the main-
land in the United States, a city located in California ; it is
an island, somewhere in the Pacific, surrounded by miles
and miles of water, away from the teeming, seething, stir-
ring, overflowing life, with practically no bridge connecting-
it with the mainland. It is a self-centered world, inhabited
by a group of people whose only goal is the size of the
check earned by them. The majority of these people
consider suggestions from those easterners who foot the
bill as suggestions unworthy of even the slightest consid-
erations, "ganging" up on any one who is sent from the
east with a view to finding out what is wrong with picture
production — why the majority of the pictures that are pro-
duced with their money flop dismally at the box office. They
have a stranglehold on production in that little world, and
they intend to continue having it.
Suggestions have often been made by different factors
how the evil could be eradicated. One of such suggestions
was that production should be de-centralized, making the
heads of each production, unit responsible for the results.
It is a pious wish, and one that could effect real improve-
ments. But mere suggestions they remain. Who is going
to compel any one in Hollywood to accept them? The
clicpjes won't have them. And they have a deadly way of
preventing their adoption. Let any one from among the
cliques say, "New York is right!" and his job is not worth
a cent. Even the stage mechanics are likely to gang up
on him.
"Well," you may say, "is there no way whereby the con-
dition could be remedied?"
Nobody has yet found it.
PARAMOUNT ACTIVE IN NORTH
DAKOTA FOR REPEAL OF
DIVORCEMENT LAW
According to reliable information, Paramount is work-
ing toward having the North Dakota theatre divorce law
repealed from the statute books of that State.
If the law should be repealed before the U. S. Supreme
Court renders its decision, the exhibitors will find it neces-
sary to carry on the theatre-divorce fight in some other
state, for the Court will then refuse to render a decision on
the ground that the question will have become academic.
Allied should use its efforts toward neutralizing the
Paramount move ; otherwise, there will be a delay in having
the constitutionality of such a law determined.
Incidentally, theatre divorcement measures have been
introduced in a few more states.
THE NEW NEELY BILL AGAINST BLOCK
BOOKING AND BLIND SELLING
Senator Neely has reintroduced in the Senate his Bill
against block booking and blind selling.
In the House of Representatives the twin of the Bill
has been introduced by Hon. Andrew Edmiston, of West
Virginia, because Mr. Pettengill is no longer a member of
Congress.
Congressman Edmiston intends to work together with
Senator Neely on the Bill.
The Motion Picture Council has again taken up the
cudgel for the Neely Bill. In a release dated January 15,
it urges every member to write to Senator Burton K.
Wheeler, Chairman of the Committee on Interstate Com-
merce, as well as to every committee member, urging a
prompt committee report and the speedy passage of the
Bill by the Senate.
"Complaints by discerning parents about the poor quality
of pictures shown at children's matinees in neighborhood
theatres are increasing in number and vigor," says the
release. "The best way to correct this evil is to secure the
passage of the Neely Bill."
OVERDOING A GOOD THING OFTEN
HAS THE OPPOSITE EFFECT
The announcement by the Selznick International organi-
zation that the actress for the part of Scarlett O'Hara in
"Gone With the Wind" has at last been chosen did not
make the newspaper editors toss their hats in the air for
joy ; on the contrary, some of them have received the news
with some derision.
The reason for it is the fact that, first, the "gag" of seek-
ing a player for a particular part so as to gain considerable
free publicity has been overdone, and in the case of "Gone
With the Wind" the "search" was kept up too long —
nearly two years.
THE BOX OFFICE PERFORMANCE OF
"THE BEACHCOMBER"
On January 20, an executive of Paramount informed
this office that "The Beachcomber," contrary to the adverse
criticism given of it in these columns, is performing re-
markably at the box office. He stated the following:
At the Rivoli, this city, it almost equalled the grosses of
"Dead End" and "Hurricane."
At the Paramount, Newark, N. J., it finished the week
to almost $18,000, thus equalling the grosses of "Wells
Fargo" and "The Buccaneer," and surpassing those of
"Artists and Models Abroad," "Men With Wings," "Ar-
kansas Traveller," and "Bluebeard's Eighth Wife."
At the Sheridan, in Miami, it outgrossed "Zaza" and
"Dawn Patrol," and doubled the grosses of "Out West
With the Hardys." It was then transferred to the Colony,
where in four days it outgrossed "Sweethearts" (doing
more in four days than "Sweethearts" in five), "Dawn
Patrol," "Stand Up and Fight." and doubled the grosses of
"Angels With Dirty Faces," and "Out West with the
Hardys."
At the Princess, in Montreal, where the average opening
has been $700, it opened to $1,300.
In Toronto it opened to considerably more than $1,900.
which is better than "Stage Door," "Four Daughters,"
"Four's a Crowd," "Lucky Star." "Happy Ending'." "Von
Can't Take It With You," "If 1 Were King," "Drums,"
and "Kentucky."
18
HARRISON'S REPORTS
February 4, 1939
"Persons In Hiding" with J. Carrol Naish,
Lynne Overman and Patricia Morison
(Paramount, Feb. 10; time, 70 mitt. )
An extremely interesting and exciting gangster melo-
drama; it is, however, strictly adult fare. The original
story, which was written by J. Edgar Hoover, is developed
iti"a logical manner and is convincing; it shows in detail
the methods employed by the Federal Bureau of Investi-
gation in tracking down criminals and their hideouts. What
makes it unsuitable for children is the fact that, despite
the ending, which proves that crime does not pay, the cen-
tral character is a young girl whose craving for luxuries
makes her a cold-blooded and ruthless criminal. Most of
the picture is taken up with the activities of this girl and
of her companions. No attempt is made to glorify the crimi-
nals ; as a matter of fact, the bravery of the G-Men is
stressed.
In the development of the plot, Patricia Morison, who
worked in a beauty parlor, decides to get the luxuries she
wanted by leading a life of crime. She joins forces with
J. Carrol Naish, a petty crook, warning him that he would
have to follow her instructions. He falls madly in love with
her and is completely under her control. After their mar-
riage, they go to visit her parents, who lived on a broken-
down farm. From a radio broadcast, the parents learn
about the crimes the couple had committed. When her
mother, whom she adored, orders her to leave, Miss Mori-
son pleads for forgiveness, claiming that she could not lead
a life of poverty as her mother had done. Their crimes be-
come more daring; eventually they join forces with a well-
known gangster, who had admired Miss Morison's clever-
ness. They kidnap a millionaire, releasing him after they
receive $200,000 ransom. From minor details the victim
could remember, G-Man Lynne Overman and his assistant
(William Henry) locate the hideout, which was Miss
Morison's parent's farm; they capture the gang, hut Miss
Morison and Naish escape. The parents are arrested. The
thought of her innocent mother being in jail is more than
Miss Morison can stand. She double-crosses her own hus-
band, hoping in that way to save her mother. But it does
not work ; both she and Naish are eventually captured.
They confess ; her parents are released.
William R. Lipman and Horace McCoy wrote the screen
play ; Louis King directed it, and Edward T. Lowe pro-
duced it. In the cast are Wiliam Frawley, William Collier,
Sr., May Boley, Richard Carle, Richard Stanley, and
others.
Unsuitable for children and adolescents. Class B.
*'Lone Wolf's Spy Hunt" with Warren
William and Ida Lupino
(Columbia, Jan. 27; time, 71 win.)
Just a moderately entertaining melodrama. Handicapped
by a far-fetched plot and too much comedy, which at times
is pretty silly, the picture will prove disappointing to those
who may expect, from the title, a really exciting melodrama.
In addition, the plot development lacks novelty. The pro-
duction is lavish ; but this alone cannot hold the spectator's
attention. No fault can be found with the performances,
for there is not much that the stars could do with the mate-
rial at hand :—
Warren William, who had retired from a life of crime
in order to take care of his motherless daughter ( Virginia
Weidler), is kidnapped by gangsters, who offer him a large
sum of money to open a safe for them ; they wanted to steal
the secret plan? for new anti-aircraft guns. When William
refuses, they release him. They continue with their plans,
however, and plant evidence involving William as the crook.
William, in an effort to clear his name, starts out to inves-
tigate the case. He is hampered in his work by Ida Lupino,
the scatter-brained daughter of a Senator, who was intent
on marrying him, despite his objections; also by little Vir-
ginia, who wanted to be a G-Woman. The gangsters kidnap
William a second time, for they had discovered that the
plans were incomplete, and they had to open another safe ;
he outwits them by taking the plans himself and giving
them different ones. They release him without knowing
about the trick. Eventually, after many exciting encounters
with the crooks and their leader (Ralph Morgan), William
turns over the plans to the police and helps them round up
the gang. William asks the police inspector to lock him up
so that he could escape from Miss Lupino; but Virginia
steals the key to the cell and turns it over to her.
Louis J. Vance wrote the story, and Jonathan Latimer,
the screen play; Peter Godfrey directed it, and Joseph
Sistrom produced it. In the cast are Rita Hayworth, Tom
Dugan, Ben Welden. and others.
Since the comedy is stressed, it is suitable for all. Class A.
"Pardon Our Nerve" with Lynn Bari,
June Gale and Michael Whalen
(20th Century-Fox, Feb. 24; time, 67l/2 mitt.)
A pretty good program comedy. In spite of the fact that
the story is not particularly novel, it is consistently amus-
ing because of wisecracks and of the antics of some of the
characters. And the predicaments the heroine and her girl
friend get themselves into are further causes for laughter.
The action moves along at a fast pace. Although the prize-
fight scenes are treated in a comical way, they are fairly
exciting : —
Lynn Bari and June Gale, both out of work and with-
out funds, are happy when they receive a call from an
escort service bureau for one day's work. But the day ends
disastrously and, when they call at the office the next day
to collect their fee, the manager refuses to pay them. While
he is out of the office, Miss Bari answers a telephone call,
which was from a society woman who wanted a prize-
fighter for her party, for which she would pay $150. Miss
Bari induces (juinn Williams, who had been attracted to
Miss Gale because she reminded him of his sweetheart back
home, to pose as the fighter ; she enlists the aid of his pal
(Edward Brophy) ; the only reason why he entered into
the scheme was because the girls owed him money. They
get into trouble again when Williams knocks out the cham-
pion fighter, who was a guest. Michael Whalen, a sports
writer, induces Miss Bari to train Williams as a boxer.
They obtain a loan from a man to whom they were already
indebted in order to carry out their plans. Williams wins
all his fights; but when it comes to the championship bout
he refuses to fight unless the girls send for his sweetheart.
To add to their troubles, two gamblers try to stop Wil-
liams from winning. But everything turns out all right —
Williams wins, the girls collect their share, and then start
out on new adventures.
Hilda Stone and Betty Reinhardt wrote the story, and
Robert Ellis and Helen Logan, the screen play; H. Bruce
Htimberstone directed it, and Sol M. Wurtzel produced it.
In the cast are John Miljan, Theodore Von Eltz, and Ward
Bond.
Suitability, Class A.
"St. Louis B'ues" with Dorothy Lamour
and Lloyd Nolan
(Paramount, Feb. 3; time. 86 miiu)
Fairly good mass entertainment. What puts this picture
over are the specialty numbers, for the story itself is weak
and somewhat slow-moving ; it lacks excitement because
of a familiar plot. The title has exploitation possibilities;
exhibitors will have to depend on it to attract patrons to
the theatre since the stars are not strong box-office attrac-
tions. When the specialty performers appear, the picture
is entertaining — Maxine Sullivan sings the type of
songs for which she has become famous, Matty Malneck
and his orchestra play popular swing music, the Hall John-
son Choir joins Miss Sullivan in a few numbers, Tito
Guizar sings two songs, and Cliff Nazarro provokes hearty
laughter by his antics. And, of course, Miss Lamour sings
a few numbers ; but she is not at her best until the final
number : —
Dorothy Lamour, tired of pretending to be a native girl
and of wearing a sarong, breaks with her manager (Jerome
Cowan), who had thought of the idea, and runs away. She
boards the showboat owned and managed by Lloyd Nolan
and his aunt (Jessie Ralph). Her first tryout as a singer
falls flat and Nolan, for a long time, refuses to give her
another chance, requesting her instead to do work around
the boat. But she tricks him into listening to her and he is
amazed at her talent. Thereafter he features her ; she proves
to be a sensation. In the meantime, Cowan obtains an in-
junction preventing Miss Lamour from appearing pub-
licly. Miss Ralph reads in a trade paper a notice about the
injunction: but. being fond of Miss Lamour, and knowing
that she and Nolan loved each other, she says nothing about
it. Miss Lamour goes to New York to see Cowan, to plead
with him to release her ; but he refuses. She goes back to
the showboat. But Cowan finds out where she is, and serves
the injunction papers on Nolan. Through a ruse. Miss La-
mour manages to appear at a performance for which all
the tickets had been sold out on the strength of her name.
To newspaper men, Nolan gives the happy news that he
and Miss Lamour were going to be married.
Eleanore Griffin and William Rankin wrote the story,
and Tohn C. Moffitt and Malcolm S. Boylan, the screen
play; Raoul Walsh directed it, and Jeff Lazarus produced
it. In the cast are William Frawley, Mary Parker, and
others.
Suitability, Class A.
February 4, 1939
HARRISON'S REPORTS
19
"Gunga Din" with Cary Grant, Victor
McLaglen, Douglas Fairbanks, Jr.
and Joan Fontaine
(RKO, Rel. date not set; time, 116 min.)
A thrilling adventure melodrama, produced on a "big"
scale. The scenes of fighting between the British soldiers
and the native "Thugs," an organized group of religious
murder fanatics, are so brilliantly directed, that the audi-
ence is keyed up to a pitch of feverish excitement. As a
matter of fact, the battle in the closing scenes may prove
too harrowing for some spectators. Cary Grant, Victor
McLaglen, and Douglas Fairbanks, Jr., three adventurous
sergeants, who fight side by side, give excellent perform-
ances ; not only do they thrill one by their daring exploits,
but also provoke hearty laughter by the pranks they play.
The romantic interest is minimized : —
Upon learning that an entire British patrol had been
massacred by a fanatical native tribe, the commanding
officer sends his three trusted sergeants (Grant, McLaglen
and Fairbanks) with a small troop to repair telegraph
wires. They are attacked, and after a terrific battle, escape
with a few casualties. Upon their return to headquarters,
Fairbanks reveals to his two pals that he intended to retire
from Army life to marry Joan Fontaine ; they are dis-
gusted. In an effort to prevent Fairbanks from leaving,
Grant gives the only other available sergeant a drink that
knocks him out; Fairbanks is, therefore, compelled to join
his pals on another expedition. Grant, learning from the
water boy, Gunga Din (Sam Jaffe), of a hidden treasure,
prepares to go in search of it ; McLaglen knocks him out
and then locks him up in order to prevent him from getting
into trouble. But Jaffe helps him to escape and together they
go in search of the treasure. They reach and enter a temple
only to find that it was the worshipping place of the fol-
lowers of the Thuggee cult. Grant is captured, but Jaffee
escapes and gets back to camp. When Fairbanks and Mc-
Laglen hear of Grant's plight, they rush to his assistance ;
but they, too, are captured. Through a ruse, McLaglen
succeeds in capturing the Thug leader (Eduardo Cian-
nelli), keeping him as their hostage. The three sergeants
are delighted to see in the distance a large force of British
troops on their way to rescue them. But their delight
changes to despair when they realize that the entire troop
would be slaughtered by the natives, who were concealed
in the hills. Jaffe, although wounded, climbs to the top of
the temple and blows a bugle, thus warning the British.
He then dies. Properly warned, the British troops are able
to protect themselves. After a fierce battle, they emerge
victorious. Jaffe is buried with honors. Fairbanks decides
to stay in the Army.
Ben Hecht and Charles MacArthur wrote the story which
was inspired by the Rudyard Kipling poem. Joel Sayre and
Fred Guil wrote the screen play ; George Stevens directed
and produced it. In the cast are Montagu Love, Lumsden
Hare, Robert Coote, Abner Biberman, and others.
Suitability, Class A.
"Off The Record" with Joan Blondell
and Pat O'Brien
{Warner Bros., Jan. 23; time, 70 min.)
A fair comedy-melodrama, of program grade. Human
interest is awakened by the efforts of the hero and the
heroine to regenerate a young boy who had been led astray
by his older brother. The association between the trio has
its comical moments, too, for the young man is not an easy
person to handle. Neither the plot nor its development is
particularly novel, but it manages to hold one's attention
fairly well because of the sympathy one feels for the char-
acters. The action becomes somewhat exciting towards the
end : — ■
Joan Blondell, a newspaper reporter, publishes a story
accusing a notorious racketeer of employing a young boy
(Bobby Jordan) to supervise the running of slot machines
in school districts. Both Jordan and his brother Alan Bax-
ter, a member of the racketeer gang, are arrested. The gang-
ster leader induces Baxter to take the blame, promising
to get him off with a light sentence; but he double-crosses
Baxter, who is given a two-year sentence. Jordan is sent
to reform school. Feeling sorry for Jordan, Miss Blondell
decides to help him ; but the only way she could get him
out of reform school was to have a married couple take
him into their home. She induces Pat O'Brien, her fiance
reporter, to marry her ; he is furious when he learns what
she intended to do. But when Miss Blondell takes Jordan
into their home, O'Brien takes a liking to him. Under
their influence, Jordan changes for the better, and noes to
work as a photographer-assistant to O'Brien. Baxter
escapes from prison; Jordan meets him and gives him the
money he had obtained by pawning his camera. Jordan
pleads with him not to get into trouble, but Baxter is deter-
termined to kill his double-crossing leader. Jordan follows
him ; in the meantime the police look for him on a theft
charge, of which he was innocent. Baxter and the leader
shoot at each other, and both die. Jordan is comforted by
Miss Blondell and O'Brien, who prove his innocence.
Saul Elkins and Sally Sandlin wrote the story, and Earl
Baldwin, Niven Busch, Laurent Kimble and Robert Buck-
ner, the screen play ; James Flood directed it and Sam
Bischoff produced it. In the cast are Joe Cunningham, Ed
Gargan, and others.
Since the regeneration is stressed, it is suitable for chil-
dren. Class A.
"Pride of the Navy" with James Dunn
and Rochelle Hudson
(Republic, Feb. 20; time, 63 min.)
Fair program entertainment. Although the story is
familiar, the spectator's interest is held fairly well for the
action is fast, at times amusing, and occasionally dramatic.
One is held in suspense in the two situations where a new
type torpedo boat is tested. James Dunn's wisecracking
proves slightly irksome at times, causing the spectator to
resent his attitude ; but he redeems himself in the end by
helping a friend. The romance is routine : —
Gordon Oliver, a lieutenant in the Navy, unable to find
out what was wrong with the torpedo boat he had designed
for the Navy, decides to call in his friend (Dunn), a speed
boat racer, who was an expert. Dunn at first refuses to
give up his time for what he considered trifles ; but when
he meets Rochelle Hudson, the commander's daughter, he
changes his mind. The new boat is built under Dunn's
instructions ; but he expresses dissatisfaction with it. The
night before the test, he quarrels with Oliver, who thought
that Dunn's intentions towards Miss Hudson were not seri-
ous ; Dunn is ordered to leave. His mechanic and old friend
(Horace MacMahon) refuses to leave with him. Instead he
and Oliver test the boat; they meet with an accident and
both are injured. Conscience-stricken, Dunn returns with
new ideas. He perfects the boat and in a difficult test proves
the boat's worth. He proposes to Miss Hudson; but, since
she insisted that the man she would marry would have to
be in the Navy, Dunn is compelled to enlist.
James Webb and Joseph Hoffman wrote the story, and
Ben Markson and Saul Elkins, the screen play ; Charles
Lamont directed it, and Herman Schlom produced it. In
the cast are Charlotte Wynters, Joseph Crehan, and Charles
Trowbridge.
Suitability, Class A.
"Torchy Blane in Chinatown" with Glenda
Farrell and Barton MacLane
(First Nat'l., Feb. 4; time, 57 min.)
A pretty good program melodrama. Done in the same
breezy style as the other pictures in this series, it manages,
despite a far-fetched story, to hold one's attention through-
out because of the mystifying plot. The action moves along
at a fast pace, alternating comedy with melodramatic situ-
ations. Average audiences may be surprised at the solu-
tion; but it will be simple for intelligent spectators to
detect the identity of the plotters. The romance between
the hero and the heroine is minimized : —
Glenda Farrell, newspaper reporter, is angry when her
police-inspector fiance (Barton MacLane) refuses to give
her any information on a new case he was working on. He
was protecting the life of Anderson Lawlor, who had re-
ceived threatening notes, written in Chinese, informing
him he would be killed because he had smuggled out of
China three burial tablets, which he had sold to Henry
O'Neill. Lawlor is supposedly killed, and so is his com-
panion (James Stephenson). In the meantime, the young
millionaire fiance of O'Neill's daughter receives a note
threatening him with death unless he turned over $250,000
as designated. Miss Farrell, by following MacLane, gets
all the facts and offers suggestions to him; but he refuses
to listen to her. Eventually the case is solved. It turns out
that Lawlor and Stephenson, who had really not been
killed, and another companion (Patric Knowles) were the
conspirators who had themselves sent the threatening notes
so as to get the $250,000 and throw the suspicion on some
one else.
Will Jenkins and Murray Leinster wrote the story, and
George Bricker, the screen play ; William Beaudine di-
rected it, and Bryan Foy produced it. In the cast are Tom
Kennedy, Janet Shaw, and Frank Shannon.
Unsuitable for children. Class B.
20
HARRISON'S REPORTS
February 4, 1939
USING THE SCREEN FOR CARRYING
THE MESSAGE OF DEMOCRACY'S
BLESSINGS
In these clays of world strife, many exhibitors have felt
that the screen should by all means be utilized for spread-
ing the message of democracy and for arousing the patriotic
fervor of the people in this country; they feel that this is
the only way by which invidious propaganda from totali-
tarian countries may be counteracted.
Warner Bros, has, as most of you no doubt know, already
produced six Americanization shorts, in natural colors,
and it is now producing six more.
I have seen one of these short features, "Declaration of
Independence," and desire to say that, in addition to its
being a fine patriotic subject, it is excellent entertainment.
Every exhibitor should book, not only these shorts, but
others, no matter whether they are released by Warner
Bros, or by any of the other companies. I feel sure that
picture-patrons will enjoy them.
BOX-OFFICE PERFORMANCES OF
1938-39 SEASON'S PICTURES— No. 4
RfCO
1937- 38
"Smashing the Rackets," with Chester Morris, Frances
Mercer, and Bruce Cabot, produced by B. P. Fineman and
directed by Lew Landers, from a screen play by Lionel
Houser : Good-Fair.
"Breaking the Ice," with Bobby Breen, Charles Ruggles,
and Dolores Costello, produced by Sol Lesser and directed
by Edward F. Cline, from a screen play by Mary McCall,
Jr., Manuel Seff, and Bernard Schubert: Good-Fair.
"Carefree," with Ginger Rogers and Fred Astaire, pro-
duced by Pandro S. Berman and directed by Mark Sand-
rich, from a screen play by Ernest Pagano and Allan Scott :
Very Good-Good.
"The Renegade Ranger," with George O'Brien and Rita
Hayworth, produced by Bert Gilroy and directed by David
Howard, from a screen play by Oliver Drake: Fair- Poor.
Forty-five pictures have been released. Grouping the
pictures of the different ratings, including the Westerns,
from the beginning of the season, we get the following
results :
Excellent-Good, 2; Very Good-Good, 2; Good-Fair, 9;
Good-Poor, 7; Fair, 8; Fair-Poor, 15; Poor. 2.
Forty-six pictures were released in the 1936-37 season.
They were rated as follows :
Excellent-Fair, 1 ; Very Good-Good, 2; Good, 4; Good-
^"air, 11 ; Fair, 12; Fair-Poor, 12; Poor, 4.
1938- 39
"The Affairs of Annabel," with Jack Oakie and Lucille
Ball, produced by Lou Lusty and directed by Ben Stoloff,
from a screen play by Bert Granet and Paul Yawitz : Good-
Fair.
"Fugitives For a Night," with Frank Albertson and
Eleanor Lynn, produced by Lou Lusty and directed by
Leslie Goodwins, from a screen play by Dalton Trumbo:
Fair.
"Room Service," with the Marx Brothers, Lucille Ball,
and Frank Albertson, produced by Pandro S. Berman and
directed by William Seiter, from a screen play by Morrie
Ryskind: Good-Fair.
"Mr. Doodle Kicks Oft," with Joe Penner and June
Travis, produced by Robert Sisk and directed by Leslie
Goodwins, from a screen play by Bert Granet: Gojd-Fair.
"A Man to Remember," with Edward Ellis, Anne Shir-
ley, and Lee Bowman, produced by Robert Sisk and di-
rected by Garson Kanin, from a screen play by Dalton
Trumbo : Good.
"The Mad Miss Manton," with Barbara Stanwyck and
Henry Fonda, produced by P. J. Wolfson and directed by
Leigh Jason, from a screen play by Philip G. Epstein:
Good-Fair.
"Tarnished Angel," with Sally Filers, Lee Bowman, and
Ann Miller, produced by H. P. Fineman and directed by
Leslie Goodwins, from a screen play by Jo Pagano: Fair-
Poor.
"Lawless Valley," with George O'Brien and Kay Sut-
ton, produced by Bert Gilroy and directed by David How-
ard, from a screen play by Oliver Drake : Fair-Poor.
"Annabel Takes a Tour," with Jack Oakie and Lucille
Ball, produced by Lou Lusty and directed by Lew Landers,
from the screen play by Bert Granet and Olive Cooper :
Good-Fair.
Nine pictures have already been released. Grouping the
pictures of the different ratings from the beginning of the
season, we get the following results:
Good, 1 ; Good-Fair, 5; Fair, 1 ; Fair-Poor, 2.
The first nine pictures in the 1937-38 season were rated
as follows :
Excellent-Good, 1 ; Good- Fair, 1 ; Fair, 4; Fair-Poor, 3.
20th Century-Fox
1938-39
"Gateway," with Don Ameche and Arlenc Whelan, pro-
duced by Samuel G. Engel and directed by Alfred YYerker,
from a screen play by Lamar Trotti : Good-Poor.
"Keep Smiling," with Jane Withers, Gloria Stuart, and
Henry Wilcoxon, produced by John Stone and directed by
Herbert I. Leeds, from a screen play by Frances Hyland
and Albert Ray : Good-Fair.
"Alexander's Ragtime Band," with Alice Faye, Tyrone
Power, and Don Ameche, produced by Harry Joe Brown
and directed by Henry King, from a screen play by Kath-
ryn Scola and Lamar Trotti : Excellent.
"Speed To Burn," with Michael Whalen and Lynn Bari,
produced by Jerry Hoffman and directed by Otto Browcr,
from a screen play by Robert Ellis and Helen Logan : Fair.
"My Lucky Star," with Sonja Henie and Richard
Greene, produced by Harry Joe Brown and directed by
Roy Del Ruth, from a screen play by Harry Tugend and
Jack Yellen: Very Good-Fair.
"Safety in Numbers," with Jed Prouty, Spring Bying-
ton, and Shirley Deane, produced by John Stone and di-
rected by Malcolm St. Clair, from a screen play by Joseph
Hoffman, Karen DeWolf and Robert Shapin: Fair.
"Hold That Coed," with George Murphy, Marjorie
Weaver, and John Barrymore, produced by David Hemp-
stead and directed by George Marshall, from a screen play
by Karl Tunberg, Don Ettlinger, and Jack Yellen : Good-
Fair.
"Time Out For Murder," with Michael Whalen and
Gloria Stuart, produced by Howard J. Green and directed
by H. Bruce Humberstone, from a screen play by Jerry
Cady : Good-Fair.
"Straight, Place and Show," with the Ritz Brothers,
Phyllis Brooks and Richard Arlen, produced by David
Hempstead and directed by David Butler, from a screen
play by M. M. Musselman and Allen Rivkin: Good-Fair.
"Meet the Girls," with Lynn Bari and June Lang, pro-
duced by Howard J. Green and directed by Eugene Forde,
from a screen play by Marguerite Roberts: Fair-Poor.
"Five of a Kind," with the Dionnc Quintuplets, Jean
Hersholt, Claire Trevor, and Cesar Romero, directed by
Herbert I. Leeds, from a screen play by Lou Breslow and
John Patrick: Good-Fair.
"Mysterious Mr. Moto," with Peter Lorre, Mary Ma-
guire and Henry Wilcoxon, produced by Sol M. Wurtze!
and directed by Norman Foster, from a screen play by
Phillip MacDonald and Norman Foster: Good-Fair.
"Suez." with Tyrone Power, Loretta Young, and Anna-
bella, produced by Gene Markey and directed by Allan
Dwan. from a screen play by Philip Dunne and Julien
Josephson : Very Good-Good.
"Always in Trouble," with Jane Withers, Andrew
Tombes, and Jean Rogers, produced by John Stone and
directed by Joseph Santley, from a screen play by Karen
DeWolf and Robert Chapin : Good-Fair.
"Just Around the Corner," with Shirley Temple, Charles
Farrell, and Joan Davis, produced by David Hempstead
and directed by Irving Cummings, from a screen play bv
Ethel Hill, J. P. McEvoy, and Darrell Ware: Very Good-
Good.
"Sharpshooters," with Brian Donlevy, Lynn Bari, and
John King, produced by Sol M. Wurtzel and directed by
James Tinling, from a screen play by Robert Ellis and
Helen Logan : Fair.
Sixteen pictures have already been released. Grouping
the pictures of the different ratings from the beginning of
the season, we get the following results :
Excellent, 1; Very Good-Good, 2; Very Good-Fair, 1;
Good-Fair, 7; Good-Poor, 1; Fair, 3; Fair-Poor, 1.
The first sixteen pictures in the 1937-38 season were
rated as follows :
Excellent, 1 ; Excellent-Very Good, 1 ; Excellent-Good,
1 ; Very Good-Good, 2 ; Very Good-Fair, 1 ; Good-Fair, 4 ;
Good-Poor, 2; Fair. 3; Fair-Poor, 1.
Entered as second-class matter January 4, 1921, at the post office at New York, New York, under the act of March 3, 1879.
Harrison's Reports
Yearly Subscription Rates: 1270 SIXTH AVENUE Published Weakly by
United States $15.00 1 «1 9 Harrison's Reports, Inc.,
U. S. Insular Possesion*. 16.50 noom 1014 Publisher
Canada 16.50 New York, N. Y. P. S. HARRISON, Editor
Mexico, Cuba, Spain 16.50 , „ , , _. . _ _ .
Great Britain 15.75 A Motion Picture Reviewing Service ., .
Australia, New Zealand, Devoted Chiefly to the Interests of the Exhibitors Established July 1, 1919
India, Europe, Asia .... 17.50
tKr. * rv„w Its Editorial Policy: No Problem Too Big for Its Editorial Circle 7-4622
doc a uopy Columns, if It is to Benefit the Exhibitor.
A REVIEWING SERVICE FREE FROM THE INFLUENCE OF FILM ADVERTISING
Vol. XXI SATURDAY, FEBRUARY 11, 1939 No. 6
REAPING THE WHIRLWIND
For years the independent exhibitors have been
protesting to the producers for permitting their
stars to take part in radio broadcasts sponsored
either by themselves or by others, but in every in-
stance they were told by these producers that the
appearance of these stars in radio shows not only
did not do any harm, but it did much good, in that,
as they said, it advertised both the stars and the
pictures they appeared in.
The exhibitors knew from experience, of course,
that the producers were wrong, for they felt it at
the box office on the nights the stars were and still
are broadcasting ; but they could do nothing about
it.
As a matter of logic, the producers ought to have
known that the taking part in broadcasts of names
such as Jack Benny, Tyrone Power, Nelson Eddy,
Don Ameche, Herbert Marshall, Loretta Young,
Fred Astaire, Joan Bennett, Myrna Loy, Gary
Grant, the Marx Bros., Ronald Colman. Carole
Lombard and of many others, on the same night,
although on different programs, could not help
giving a hard blow to the box office, but they
seemed not to have realized it ; it is onlv now, when
receipts in all but the most outstanding pictures
have reached the lowest in any period of the his-
tory of motion picture exhibition, that they are
beginning to realize it.
Radio is a formidable competitor to motion pic-
tures, by reason of the fact that the radio people
are a more progressive lot than are the motion
picture people, and are not fettered with politics,
such as is the motion picture industry : since the
provider of radio entertainment must give an ac-
counting for the sort of show he produces to the
advertiser directly and not to the public, as is the
case with the motion picture industry, he stands or
falls by the quality of the entertainment he can
produce, for unless it is of high quality, the adver-
tiser will look to someone else for his entertain-
ment ; he pays thousands of dollars for the privi-
lege of reaching the public during the hour he
sponsors, and he cannot afford to give the public
poor, or even fair, entertainment. As a result, the
providers of radio entertainment are wide awake.
Every week they bring out something new to keep
the listeners in at home, away from motion pic-
tures. The standard they have in mind when they
get together their entertainment is motion picture
entertainment exclusively. It is what the motion
picture theatre offers that they arc trying to outdo
— nothing else.
If any producer has any doubt that this is so, all
he has to do is to look into his box-office receipts:
he will find that his top-notch pictures, the very
best of them, outdraw the top-notch pictures of
former years, but his other pictures don't draw a
Corporal's guard — less than half of what pictures
of similar grade used to draw in former years. The
reason for it is the fact that it takes a powerful
picture to draw people away from their radio at
home, particularly during bad weather, when the
comforts of home make the radio more attractive.
Recently The Hollywood Reporter said: "The
greatest worry in this picture business today is the
continued falling off in audience attendance, which
is happening right at a time when the producers
believe they are making the finest and most ex-
pensive pictures that have ever come out of any
studio. Exhibitors, distributors and producers are
getting frantic because of the attendance drop ;
nothing seems to accelerate box-office reaction that
WAS in other days. . . ."
Two things the producers must do to bring to
the theatres normal attendance : discontinue either
sponsoring radio hours or permitting their stars
to take part in radio broadcasts, and make a greater
number of high-grade pictures.
Television is to begin this spring, and unless they
take steps to mend their fences, they will find them-
selves before another formidable competitor.
BOX-OFFICE PERFORMANCES OF
1938-39 SEASON'S PICTURES— No. 5
United Artists
1938-39
"Algiers," with Charles Boyer, Hedy LaMarr.
and Sigrid Gurie, produced by Walter Wanger and
directed by John Cromwell, from a screen play by
John Howard Lawson : Yerv Good-Fair.
"Drums," with Sabu, Raymond Massey, Roger
Livesev, and Valerie Hobson, produced by Alex-
ander Korda and directed by Joltan Korda. from a
screen play by Arthur Wimperis, Patric Kirwan,
and Hugh Gray : Good-Fair.
"There Goes My Heart." with Fredric March.
Virginia Bruce, and Patsy Kelly, produced by Hal
Roach and directed by Norman Z. McLeod. from
a screen play by Eddie Moran and Jack Jevne :
Good- Fair.
"The Young in Heart," with Janet Gaynor.
Douglas Fairbanks, Jr., Billie Burke, Roland
Young, and Paulette Goddard, produced by David
O. Selznick and directed by Richard Wallace, from
a screen play by Paul Osborn : Very Good-Good.
Four pictures have already been released. Group-
ing the pictures of the different ratings from the
beginning of the season, we get these results:
Very Good-Good, 1 ; Verv Good- Fair, 1 : Good-
Fair, 2.
The first four pictures in the 1937-38 season
were rated as follows :
Excellent-Very Good. 1; Excellent-Good, I;
Good-Poor, 1 ; Fair-Poor, I.
(Continued on last page)
22
HARRISON'S REPORTS
February 11, 1939
"Idiot's Delight" with Norma Shearer
and Clark Gable
(MGM , January 27; time, \Q6]/> mm.)
Very good adult entertainment. Its appeal will be di-
rected more to class audiences than to the masses, because
of the overabundance of dialogue. The action moves at
a fairly lively pace in the first half, but the second half
is typical of a stage play, with all the action concentrated
in one room. Considering the jxipularity of the two stars,
however, it should draw well at the box-office. In adapting
it from the stage play, the producer eliminated some of the
strong anti-war propaganda and refrained from mentioning
the names of the countries responsihle for war. But enough
is said by the characters, especially by Burgess Meredith,
to make one realize that war is horrible and futile. The
romance between Gable and Miss Shearer is slightly on the
sordid side ; but, as a result of their excellent performances,
one cannot help feeling sympathy for both of them: —
After the World War, Gable goes hack to his profession
as a vaudeville actor. While playing in Omaha, he meets
Miss Shearer, member of an acrobatic troupe; they spend
the night together at a hotel and part the next morning.
Years later they meet again, at a European frontier hotel.
Gal)le and a group of girls, with whom he had been touring
throughout Europe, are unable to proceed because of
frontier trouble and expected air raids. Miss Shearer, wear-
ing a blond wig and talking with a Russian accent, ar-
rives with Edward Arnold, a powerful munitions manu-
facturer. Gable recognizes her from the fantastic stories
she tells about herself — that she was a Russian princess,
and had visited royalty all over Europe. She, too, recog-
nizes him but pretends she does not know him. Everyone
prepares to leave the next day. But Arnold, who was an-
noyed at Miss Shearer for having told him the truth alxnit
himself, wants to get rid of her ; he refuses to vouch for
her passport and so she is detained. Everyone leaves, in-
cluding Gable. But he returns to help Miss Shearer. It is
then that she drops her accent and acknowledges her iden-
tity. Together, arm in arm, they watch the bombing that
had started, expecting to meet with death. Their lives
are spared ; happily, they look forword to a new life
together.
Robert E. Sherwood wrote the screen play from his own
stage play ; Clarence Brown directed it, and Hunt Strom-
berg produced it. In the cast are Charles Coburn. Joseph
Schildkraut, Laura Hope Crews, Skeets Gallagher, and
others.
Unsuitable for children and adolescents. Class B.
"Navy Secrets" with Fay Wray
and Grant Withers
(Monogram, February I ; time, 60 mm.)
A moderately entertaining espionage melodrama. The
plot developments are obvious and so the spectator is held
only in fair suspense. Furthermore, too much footage is
wasted in the romantic sequences, thus slowing up the ac-
tion. Towards the end, the action becomes quite exciting,
culminating in the roundup of the spy ring : —
Craig Reynolds, an officer in the United States Navy, is
arrested for having sold government plans to foreign
agents. Grant Withers, a Federal investigator posing as a
sailnr friend of Reynolds', wins the confidence of Fay
Wray, supposedly Reynolds' fiancee. Pretending that he
had stamps belonging to Reynolds, which he was supposed
to turn over to some man whose name he had forgotten, he
induces Miss Wray to take him to the different places she
used to frequent with Reynolds. They finally locate the man
they wanted ; he was the leader of the spy ring. But when
he discovers that he was trapped, he tries to kill Withers
and Miss Wray. The police, who had been notified in
advance by Miss Wray, arrive in time to save them, and
to round up the gang. Withers learns, to his surprise,
that Miss Wray, too was a federal agent, working on
the same case. He is happy, for he had fallen in love
witli her.
Steve Fisher wrote the story, and Harvey Gates, the
screen play; Howard Bretherton directed it, and William
Lackey produced it. In the cast are Dewey Robinson,
George Sorel, and others.
Suitability, Class A.
"Boy Trouble" with Charlie Ruggles
and Mary Boland
{Paramount, February 17 ; time, 73 min.)
A fairly pleasant program comedy, with human appeal.
Several situations touch one's emotions because of the ap-
pealing way in which they are played by two youngsters
( Billy Lee and Donald O'Connor). In the first half, com-
edy predominates ; but as the story develops it becomes a
little more dramatic, ending on a sentimental note. The
romantic interest is routine: —
Charlie Ruggles, a department store clerk in a boys'
department, hates his work for he had to contend with an
irritable manager and witli cranky boy customers. He is
irritated further when he learns that his daughter ("Joyce
Mathews) was in love with John Hartley, a wise-cracking
young man who had been the cause of Ruggles' paying a
fine in an automobile accident ; he orders Hartley out of the
house. Hartley sneaks in the following morning and con-
vinces Miss Boland that Ruggles was irritable because he
missed having a son in his own home. Unknown to Ruggles,
she adopts six-year old Billy Lee from an orphanage.
Ruggles is enraged when she breaks the news to him ; he
puts Billy in his car to take him back to the orphanage. On
the way, Ruggles knocks down Donald O'Connor, another
orphan, and returns home with both boys. Seeking peace
one night, he goes to a neighbor's house, where the two boys
follow him; they reveal that Billy had scarlet fever. Since
the neighbor was out, the three are quarantined in her
house. During the time that he treats Billy, Ruggles real-
izes what the two boys meant to him. Billv recovers, and
Ruggles goes back to work. When he hears that the orphan-
age intended taking Billy back, he gives up his job so as to
rush to the board meeting to present his case. He so im-
presses the chairman of the board that, not only does he
permit him to keep Billy, but also offers him a good posi-
tion. Everyone is happy ; Ruggles even forgives Hartley.
Lloyd Corrigan and Monte Brice wrote the story, and
Laura and S. J. Perelman, the screen play ; George Ar-
chainbaud directed it. In the cast are Andrew Tombes,
Dick Elliott, Zeffie Tilbury, and others.
Suitability, Class A.
"Nancy Drew, Reporter" with Bonita
Granville and Frankie Thomas, Jr.
(First National, February 18; time, 68 win.)
Good program fare. Should the "Nancy Drew" pictures
to follow continue to be as entertaining as this one. there is
no doubt that the series will become popular. This one
should amuse both young and old ; it alternates between
comedy and melodrama, holding the spectator's attention
throughout. Bonita Granville and Frankie Thomas, Jr.,
continuing in the roles they created in "Nancy Drew. De-
tective," act their respective parts with conviction. They
are aided considerably by two youngsters (Mary Lee and
Dickie Jones), who make nuisances of themselves. Most
of the laughter is provoked by the antics of these two
children. One musical number has been interpolated in a
clever way and is quite entertaining : —
Tn line with her school work in journalism, Miss Gran-
ville and a few other students are given the privilege of
working on a real newspaper, with the understanding that
the one who would turn in the best story would receive a
cash award and a medal. Dissatisfied with the assignment
given to her. Miss Granville, unknown to the editor,
switches assignments with a regular reporter. She covers
an inquest on a murder case, and, from the testimony, de-
cides that the girl who was being held for the murder was
not guilty. The editor, of course, refuses to listen to her ;
and so she proceeds with the investigation on her own. She
enlists the aid of Thomas, who reluctantly agrees to help
her. They are hampered at times in their work by Thomas'
young sister and brother. Eventually Miss Granville and
Thomas obtain the necessary evidence, proving that the
accused girl was innocent ; they help the police to appre-
hend the real criminal.
The plot was adapted from the stories by Carolyn Keene.
Kenneth Garnet wrote the screen play ; William Clemens
directed it, and Bryan Foy produced it. In the cast are John
Litel, Sheila Bromley, Larry Williams, Thomas Jackson,
and others.
Suitability, Class A.
February 11, 1939
HARRISON'S REPORTS
23
"Tailspin" with Alice Faye, Nancy Kelly
and Constance Bennett
(20th Century-Fox, February 10; time, 83l/2 min.)
Just fair entertainment. It offers little in the way of stunt
flying that has not already been shown to better advantage
in other aeroplane pictures. The only novelty is that in this
case the flyers are women. There is just one tense situation
■ — that in which Edward Norris, a test pilot, goes to his
death. This touches the spectator because of the unhappi-
ness it brings to Norris' wife (Nancy Kelly). The story
lacks dramatic power and human appeal, for the actions of
the characters are not such as to awaken one's sympathy.
Even the romantic involvements are vague. Alice Faye puts
over one song well ; otherwise she is wasted in a part that
makes little use of her talents : —
Miss Faye, who had given up her position in a cafe to
compete in an aeroplane race for women, loses the race be-
cause of a motor defect which grounds her. But, despite
straitened circumstances, she is determined to try again.
Together with her friend and assistant (Joan Davis), she
flies to the air field where an important race for women was
to be held. Everyone's hopes are high until Constance Ben-
nett, a wealthy society girl, arrives with her powerful plane.
The other flyers feel it would be unfair of her to compete
in a race that meant nothing to her and everything to them.
Norris' sudden death while testing a new plane makes
everyone miserable; his wife, a flyer, unable to stifle her
grief, goes to her death in his plane. Miss Bennett shows
herself to be a good sport when she leaves the race, even
though she was leading, in order to permit Miss Faye to
win. Something goes wrong with Miss Bennett's motor and
she is forced to make a parachute jump; she is injured.
Miss Faye, who was in love with Kane Richmond, Miss
Bennett's fiance, forgets her feelings for him when she
realizes that it was Miss Bennett he really loved. She ac-
cepts an offer for a lucrative position with an oil company,
and leaves with Miss Davis and Charles Farrell, an expert
mechanic, who had helped her out in times of need.
Frank Wead wrote the original screen play, Roy Del
Ruth directed it, and Harry Joe Brown produced it. In the
cast are Jane Wyman, Wally Vernon, Harry Davenport,
and others.
Suitability, Class A.
"Homicide Bureau" with Bruce Cabot
and Rita Hayworth
(Columbia, February IS; time, 59 min.)
Fairly good program entertainment, suitable for theatres
that cater to audiences who go in for racketeer melodramas.
The story in itself is not new ; however, it holds one's at-
tention for it is developed logically, with fast and exciting
action. An interesting angle is that which shows how
police officers, through seemingly unimportant clues, work
out their cases. Both the comedy and romantic interest are
kept in the background, so as not to interfere with the
action : —
Bruce Cabot, a detective with the police force, is annoyed
at the restrictions placed upon his department by interfer-
ing civic organizations, who demanded that police eliminate
brute force in their dealings with criminals ; at the same
time these same organizations were demanding that some-
thing be done about the crime wave. When another murder
is committed, Cabot arrests Marc Lawrence, a gangster,
who had been identified by the owner of the store where the
murder had been committed. Again the civic organizations
interfere, claiming that Cabot had arrested Lawrence only
because he was a former convict. Lawrence is released and
Cabot is taken off the case ; but he decides to keep investi-
gating it on his own. He finds out that Lawrence was con-
nected with a gang of racketeers who were forcing junk
dealers to sell their scrap metal to them, which they in turn
were selling to foreign nations. Cabot is instrumental in
saving from death his superior officer, who had been
trapped by the racketeers. Lawrence and the gang confess
to the murders and to their illegal business dealings with
foreign nations. Cabot is praised by the civic organizations
that had condemned him ; he is promoted. He and Rita
Hayworth, a chemist who worked for the police depart-
ment, admit their love for each other.
Earle Snell wrote the screen play, and C. C. Coleman, Jr.,
directed it. In the cast are Richard Siske, Moroni Olsen,
Norman Willis, and others.
The murders make it unsuitable for children. Class B.
"Fisherman's Wharf" with Bobby Breen,
Leo Carrillo and Henry Armetta
(RKO [1937-38], February 3; time, 71 mm.)
This is one of Bobby Breen's best pictures. The story,
although familiar, is a pleasant mixture of comedy and
drama, with deep human appeal. The fact that Bobby is
not made to carry the burden of the story entirely on his
own shoulders is to the picture's benefit ; as a matter of fact
the burden falls on Leo Carrillo and Henry Armetta, and
they both come through with excellent performances. Ros-
ina Galli adds to the gaiety by her chatter. Bobby sings a
few songs, which are cleverly interpolated so as not to
interfere with the action. The picturesque San Francisco
Bay makes an interesting background. For children, there
is the added attraction of Slicker, the trained seal, who
should delight them with his tricks : —
Motherless Bobby and his father (Carrillo), a fisherman,
are great pals. During his school vacation, Bobby goes out
fishing with his father and Armetta. Each day is ended
with a delicious dinner at Carrillo's home, cooked by Miss
Galli, his housekeeper. Armetta had been proposing to her
for twenty years without any success. The peace of the
household is disrupted when Carrillo's sister-in-law (Lee
Patrick), a widow, arrives with her son (Tommy Bupp).
Miss Galli is disgusted and leaves the house ; she marries
Armetta. By following the advice of Miss Patrick in busi-
ness matters, Carrillo makes enemies of his former asso-
ciates. Tommy makes life miserable for Bobby. He finally
tells Bobby that he was an orphan and that Carrillo was
not his real father. Bobby runs away. Carrillo's eyes are
finally opened as to what was happening in his home. He
orders Miss Patrick to leave with her son; he then goes
after Bobby. He assures Bobby that even though he was
only his adopted son he loved him as if he were his own.
Everyone is happy again.
Bernard Schubert, Ian Hunter, and Herbert C. Lewis
wrote the screen play ; Bernard Vorhaus directed it. and
Sol Lesser produced it. In the cast are George Humbert,
Leon Belasco, and others.
Suitability, Class A.
"Four Girls in White" with Florence Rice
and Alan Marshall
(MGM, January 27; time, 73 min.)
Just fair program entertainment. The story is not par-
ticularly engrossing ; as a matter of fact it is unpleasant in
some respects, particularly in the characterization of the
heroine. Not until the closing scenes does she redeem her-
self and win one's sympathy. Most of the action in the first
half centers around hospital routine work; these scenes are
neither novel nor exciting. The picture depends mainly on
the closing scenes for its dramatic power ; there nurses and
doctors are shown assisting those who had been injured in
a train wreck. These scenes have been handled realistically
and with considerable excitement : —
Florence Rice and her sister (Ann Rutherford) enter a
hospital to study nursing. Miss Rice's sole purpose in tak-
ing up that profession was to ensnare a rich husband —
either a doctor or a patient. Alan Marshall, the chief sur-
geon, falls in love with her, and they see each other fre-
quently. But she becomes annoyed at his devotion to his
hospital duties and tries to induce him to give them up for a
private practice ; but he refuses. They quarrel and part.
When Kent Taylor, a wealthy playboy, is brought to the
hospital. Miss Rice manages to take care of him. He asks
her and her sister to spend their vacation on his yacht, to
which they agree. Taylor falls in love with Miss Ruthford,
and Miss Rice goes back to the hospital. She is met with
hostile glances on her return. A nurse (Mary Howard),
who had lost her vacation because she had covered up for
Miss Rice, who had violated a hospital rule, had been killed
by an insane patient during the time when she really should
have been away from the hospital. Miss Rice is heartbroken.
She redeems herself when she risks her life at the scene of
a train wreck to help those who were injured. She and
Marshall are reconciled.
Nathalie Buckuall and Endre Bohem wrote the story,
and Dorothy Yost, the screen play ; S. Sylvan Simon di-
rected it, and Nat Levine produced it. In the cast are Una
Merkel, Buddy K.bsen, Jessie Ralph, Sara Haden, and
others.
Suitability, Class A.
24
HARRISON'S REPORTS
February 11, 1939
Universal
1937- 38
"The Missing Guest," with Paul Kelly and
Constance Moore, produced by Barney A. Sarecky
and directed hy John Rawlins, from a screen play
bv Charles Martin and Paul Perez: Fair-Poor.
"That Certain Age/' with Deanna Durhin, Mel-
vyn Douglas, and Jackie Cooper, produced by Joe
Pasternak and directed by Edward Ludwig, from
a screen play by Bruce Manning : Very Good.
Fifty pictures, including Westerns, were re-
leased. Grouping the pictures of the different rat-
ings from the beginning of the season, we get the
following results :
Excellent- Very Good, 1 ; Excellent-Good, 1 ;
Very Good, 1 ; Very Good-Good, 3; Very Good-
Fair, 1; Good-Fair, 7; Good-Poor, 1; Fair, 15;
Fair- Poor, 19; Poor, 1.
Thirtv-three pictures, excluding Westerns, were
released during the 1936-37 season. They were
rated as follows :
Excellent. 1 ; Excellent-Very Good, 1 ; Very
Good-Good, 1 ; Good, 2; Good-Fair, 3; Fair, 13;
Fair- Poor, 12.
1938- 39
"Dark Rapture," with native cast, produced by
Armand Denis and Leila Roosevelt and directed
liv Armand Denis: Good-Poor.
"Freshman Year," with Constance Moore and
William Lundigan, produced by George R. Bilson
and directed by Frank MacDonald, from a screen
play bv Charles Grayson : Fair.
"Personal Secretary," with William Gargan and
Joy Hodges, produced by Max H. Golden and di-
rected by Otis Garrett, from a screen play by Rob-
ert Lively, Betty Laidlaw, and Charles Grayson:
Fair-Poor.
"Black Bandit," with Bob Baker and Marjorie
Reynolds, produced by Trem Carr and directed by
George Waggner, from a screen play by Joseph
West : Fair.
"Road to Reno," with Randolph Scott, Hope
Hampton, and Helen Broderick, produced by Ed-
mund Grainger and directed by S. Sylvan Simon,
from a screen play by Roy Chansler and Adele
Comandini : Fair-Poor.
"Youth Takes a Fling." with Joel McCrea and
Andrea Leeds, produced by Joe Pasternak and
directed bv Archie Mayo, from a screen play by
Mvles Connolly and Tom Reed: Good-Fair.
"Swing That Cheer," with Robert Wilcox, Tom
Brown, and Constance Moore, produced by Max
H. Golden and directed by David Schuster, from
a screen play by Charles Grayson and Lee Loeb :
Fair.
"Guilty Trail," with Bob Baker and Marjorie
Reynolds, produced by Trem Carr and directed by
George Waggner, from a screen play by Joseph
West : Fair-Poor.
"Service DeLuxe," with Constance Bennett.
Charlie Ruggles and Vincent Price, produced by
Edmund < rrainger and directed by Rowland V.
Lee, from a screen play by Gertrude Purcell and
Leonard Spi^elglass : Good-Fair.
"The Storm," with Charles Bickford, Tom
Brown, Preston Foster, and Nan Grey, produced
by Ken Goldsmith and directed by Harold Young,
from a screen play by Daniel Moore, Hugh King,
and Theodore Reeves : Good-Fair.
"The Last Express," with Kent Taylor and
Dorothea Kent, produced by Irving Starr and di-
"Exposed," with Glenda Farrell and Otto Kru-
ger, produced by Max H. Golden and directed by
I larold Schuster, from a screen play by Charles
Kaufman and Franklin Coen : Fair.
"Prairie Justice," with Bob Baker and Dorothy
Fay, produced by Trem Carr and directed hy
George Waggner, from a screen play by Joseph
West : Fair- Poor.
"His Exciting Night," with Charles Ruggles,
Richard I^ane, and Ona Munson, produced by
Ken Goldsmith and directed by Gus Meins, from
a screen play by Pat C. Flice, Edward Eliscu and
Morton Grant: Fair.
Fourteen pictures have already been released.
Grouping the pictures of the different ratings from
the beginning of the season, we get these results:
Good-Fair, 3; Good-Poor, 1; Fair, 6; Fair-
Poor, 4.
The first fourteen pictures in the 1937-38 season
were rated as follows :
Excellent-Very Good, 1 ; Good-Fair, 2 ; Fair, 4 ;
Fair-Poor, 6; Poor, 1.
Warner Bros.
1937- 38
"Boy Meets Girl," with James Cagney, Pat
O'Brien, and Marie Wilson, produced by Sam
Bischoff and directed by Lloyd Bacon, from a
screen play by Bella and Samuel Spewack : Fair-
Poor.
Twenty-seven pictures have been released.
Grouping the pictures of the different ratings from
the beginning of the season, we get these results :
Excellent-Very Good, 1 ; Very Good-Good, 5 ;
Good, 1 ; Good-Fair, 5 ; Good-Poor, 6 ; Fair, 2 ;
Fair-Poor, 7.
Twenty-seven pictures were released during the
1936-37 season. They were rated as follows :
Very Good, 1 ; Very Good-Good, 3 ; Very Good-
Poor, 1 ; Good, 3 ; Good-Fair, 6 ; Fair, 10 ; Fair-
Poor, 3.
1938- 39
"Four's a Crowd," with Errol Flynn, Rosalind
Russell, Olivia DeHavilland, and Patric Knowles,
produced by David Lewis and directed by Michael
Curtiz, from a screen play by Casey Robinson and
Sig Herzig: Very Good-Good.
"Valley of the Giants," with Wayne Morris,
Claire Trevor, and Charles Bickford, produced by
Lou Edelman and directed by William Keighley,
from a screen play by Seton I. Miller and Michael
Fessier : Good.
"The Sisters," with Bette Davis and Errol
Flynn, produced by David Lewis and directed by
Anatole Litvak, from a screen play by W illiam
Krims : Very Good-Good.
"Hard to Get," with Dick Powell and Olivia
DeHavilland, produced by Sam Bischoff and di-
rected by Ray Enright. from a screen play by
Richard Macauley, Jerry Wald, and Maurice Leo :
Good-Fair.
"Torchy Gets Her Man," with Glenda Farrell
and Barton MacLane, produced by Bryan Foy and
directed by William Beaudine, from a screen play
by Albert DeMond : Good-Fair.
Five pictures have so far been released. Group-
ing the pictures of the different ratings from the
beginning of the season, we get the following re-
sults :
Very Good-Good, 2 ; Good, 1 ; Good-Fair, 2.
The first five pictures in the 1937-38 season were
rated as follows :
IN TWO SECTIONS— SECTION ONE
Entered as second-class matter January 4, 1921, at the post office at New York, New York, under the act of March 3, 1879.
T }
Yearly Subscription Rates: 1270 SIXTH AVENUE Published Weekly by
United States $15.00 p 1 ci •> Harrison's Reports, Inc.,
U. S. Insular Possessions. 10.50 Kcom 16U Publisher
Canada 16.50 New York, N. Y. P. S. HARRISON, Editor
Mexico, Cuba, Spain 16.50 . „ ,, _. .. „ , . „ .
Great Britain 15 75 A Motion Picture Reviewing Service
Australia, New Zealand, Devoted Chiefly to the Interests of the Exhibitors Established July 1, 1919
India, Europe, Asia .... 17.50
35c a Copy Its Euitorial Policy: No Problem Too Big for Its Editorial Circle 7-4622
Columns, if It is to Benefit the Exhibitor.
A REVIEWING SERVICE FREE FROM THE INFLUENCE OF FILM ADVERTISING
Vol. XXI SATURDAY, FEBRUARY 18, 1939 No. 7
A SWEEPING COURT VICTORY
On Monday, this week, the U. S. Supreme Court
rendered a decision upholding the decision of the
Dallas District Court in the case of United States
vs. I nterstate Circuit et al.
The case is now so old that many of you have, no
doubt, forgotten its details ; a recapitulation of the
facts should, therefore, prove helpful.
In the spring of 1937, the Department of Justice
brought suit in the Federal District Court for the
Northern District (Dallas) of Texas against Inter-
state Circuit, Inc., and Texas Consolidated Thea-
tres, Inc., which companies operate more than one
hundred theatres in that territory, seeking to have
declared "unlawful and void" the provisions in the
license agreements between distributors and subse-
quent-run exhibitors, which agreements restricted
the prices of admission and the right to exhibit two
features on the same bill ; the suit sought also to
enjoin such distributors from inserting in future
contracts similar provisions.
The distributors, who were made co-defendants,
were : Columbia, MGM, Paramount, RKO, Twen-
tieth Century-Fox, United Artists, Universal, and
Vitagraph.
In the suit the Government charged that the
aforementioned circuits had, for several years, a
virtual monopoly in first-run exhibition in some
Texas towns, while in others they had been in
active competition with subsequent-run independ-
ent exhibitors ; and that these circuits demanded of
the aforementioned distributors that, before sell-
ing pictures to subsequent-run exhibitor competi-
tors, they compel such exhibitors to sign an agree-
ment to charge a minimum admission price of 25c
and to refrain from showing two features on the
same bill. The government charged that all these
acts constituted a "combination, conspiracy and
agreement to restrain trade or commerce in mo-
tion picture films and to monopolize and attempt
to monopolize their exhibition."
Presiding Judge W illiam If. Atwell, after a
trial, granted the relief the Government sought, set-
ting down the reasons for his decision. Such deci-
sion was, in the opinion of comj>etent legal author-
ity, noteworthy ; it showed that Judge Atwell had a
thorough comprehension of the problems involved
in the distribution as well as exhibition of motion
pictures.
Conceding the fact that the copyright owner of
motion picture films has the right to dispose of such
films as he pleases, Judge Atwell remarked as fol-
lows: "This well-defined right, however, will not
justify his agreeing or combining with another
person in order to deprive a third person of a com-
plete freedom of contract. The copyright statute
and the anti-trust statute are both in effect and
vitally necessary."
In order to explain clearly what he meant by
this language, he made the further remarks : "The
owner of the copyrighted article may contract with
the exhibitor, without the intervention of any third
mind, for full and free protection, both as to price
and manner of use, but when the outside mind, with
an interest to serve, steps into the picture, — the
contracting room — and interjects, persuades and
coerces the copyright owner to join with it in its
protection, as against the party to whom the copy-
right holder is selling or contracting, then and in
that event there are two or more persons engaged
on the side of the copyright holder, when the law
gives only one privileges or immunities. Such a
unity of minds, if it be in restraint of interstate
commerce, is illegal. The copyright privileges do
not save it from illegality.
"The sharp issue — the battleground — of this
case, is whether the respondents conspired together
to bring about the fixing of the minimum 25c
charge by the subsequent exhibitor and the destruc-
tion of the practice of double featuring."
Judge Atwell concluded that the existence of
a conspiracy and agreement among the defendants
was inescapable.
The producers appealed, of course, from Judge
Atwell's decision and when shortly afterwards the
U. S. Supreme Court remanded the case of the
District Court of Texas for findings of fact and
law, they heralded this fact with blaring trumpets,
leading the exhibitors to believe that they had won
a victory. But the latter part of May, 1938, Judge
Atwell, in accordance with the U. S. Supreme
Court's recommendation, made his formal findings.
These were so sweeping that the master-strategists
of the producers were, no doubt, shocked. At that
time Harrison's Reports felt that the producers
had nothing to gain by appealing the case to the
U. S. Supreme Court ; but they did appeal it. and
now the highest court in the land comes forward
and upholds the lower court in every particular.
Justice Stone, who read the majority opinion
last Monday, characterized the restrictions of the
defendants "harsh and arbitrary" and said that a
competition-suppressing agreement is not made any
less illegal because the article it covers is copy-
righted. "The fact that the restraint is made easier
or more eff ective by making the copyright subser-
vient to the contract does not relieve it of illegality,"
the Justice stated further.
Justice Stoiie concluded that "the conspiracy and
each contract between Interstate and the distribu-
tors . . . are violations of the Sherman Act."
In sending news of the decision to his paper, the
Washington correspondent of the New York Her-
ald Tribune said partly as follows:
"The decision, hailed by the Department of Jus-
(Continued on last {"age)
26
HARRISON'S REPORTS
February 18, 1939
"Beauty for the Asking" with Lucille Ball,
Patrick Knowles and Frieda Inescort
(RKO, Feb. 24; time, 67l/2 mm.)
A fair program entertainment. The story itself is a
routine triangle drama involving characters who are not
particularly sympathetic. The picture, however, has a good
selling point for women — that of the beauty parlor hack-
ground, showing the methods employed to make women
attractive. Women will be inspired to go out and try
the same things for themselves when they sec what it docs
to one of the characters, who is changed from an unat-
tractive woman to one of poise and beauty. The picture,
therefore, can be exploited as to that angle: —
Luc'lle Rail, who worked in a beauty parlor, is jilted by
Patrick Knowles, who marries wealthy Frieda Inescort.
Miss Rail, who had perfected a new kind of cold cream,
induces Donald Woods, an advertising expert, to ban lie
the product for her. Miss Inescort becomes interested in
the product and invests enough money to get the business
started ; Knowles becomes an executive in the firm. The
business grows in leaps and bounds. Rut Miss Rail, who
still loved Knowles, is made unhappy by his presence.
Woods, who loved her, knows that Knowles was not
worthy of her love. Eventually Miss Rail, unable to re-
sist Knowles' attentions any longer, confesses her love
for him. She goes to see Miss Inescort, who agrees to give
him up. Rut when Knowles learns that Miss Hall had
agreed to turn over to Miss Inescort both hers and Knowles'
holdings in the firm, he shows his true character by
jilting her again. Rut Miss Inescort, who had been warned
by Miss Rail, orders Knowles out of her home. She later
divorces him, and she and Miss Rail become good friends
and business associates. After a trip to Europe, Miss Hall
returns to New York ; she then accepts Woods' marriage
proposal. ■ • \i>
Edmund L. Hartmann wrote the story, and Doris Ander-
son and Pau1 Jarrico, the screen play ; Glenn Tryon directed
it, and R. P. Fineman produced it. In the cast are Ine."
Courtney, Leona Maricle, Frances Mercer, Whitney
Bourne, and others.
Suitability, Calss A.
"Made for Each Other" with Carole
Lombard and James Stewart
(United Artists, Feb. 10; time, 94 min.)
Excellent entertainment for the masses. It is a delightful
combination of comedy and drama, with deep human appeal.
Although the story is simple, it is so true to life, that
audiences will chuckle with delight at some of the situations,
comparing them with events in their own lives. A few
situations bring tears to the eyes, and others provoke hearty
laughter. The performances, from the stars down to the
smallest bit part, are delightful : —
After a short acquaintanceship, Carole Lombard and
James Stewart, a young lawyer, marry. His mother
(Luc lie Watson) is shocked at the news, but pretends to
be a good sport about it ; eventually she makes her home
with the young couple. Her interference and nagging in-
furiate Miss Lombard ; but she says nothing, for she
does not want to make Stewart unhappy. Stewart, who had
been expecting to be made a junior member of his law firm,
is ke?nly disappointed when the designation is given to
another man. When their baby is born. Miss Lombard
pleads with Stewart to assert himself and to ask Charles
Coburn, the senior member of the firm, for an increase ;
but on the day Stewart decides to do this, Coburn informs
him that business conditions made it necessary for him to
de r. ase Stewart's salary. Stewart is miserable — bills pile
up. Miss Lombard is compelled to do her own housework,
and he cannot afford to give her any luxuries. He tells her
that in fairness to her they should separate. Rut that very
night their baby becomes seriously ill with pneumonia.
Stewart rushes to Coburn for help in obtaining a serum
needed to save the child's life. Coburn gladly advances
$5,000 for the serum, which is flown through a blizzard
by a daring aviator (Eddie Quillan). The baby recovers.
And with his recovery everything is adjusted; Stewart is
ma''c a partner in the firm with a substantial increase, and
every one is happy.
The plot was suggested by a story by Rose Franken. Jo
Swerling wrote the screen play, John Cromwell directed
it, and David O. Selznick produced it. In the cast are Alma
Kruger, Ruth Weston, Donald Rriggs, Louise Reavers, and
others.
Suitability, Class A.
"Woman Doctor" with Frieda Inescort,
Henry Wilcoxon, Sybil Jason and
Claire Dodd
(Republic, Feb. 6; time, 65 mm.)
A moderately entertaining program triangle drama, with
an appeal to women because of the mother love angle. The
production and performances are superior to the story
value-, for the plot itself is familiar and lacks novelty in
development. On occasion, situations that were meant to
be dramatic fail to impress the spectator because they are
so far-fetched. Frieda Inescort, whose actions throughout
are commendable, is the only sympathetic character ; Henry
Wilcoxon, the husband, is a weakling; Claire Dodd, the
otjer woman, is a scheming person, and even the actions
of the child (Sybil Jason), are at times unappealing.
In the development of the plot, Miss Inescort, a brilliant
surgeon, is heartbroken when she realizes that her devo-
tion to her profession had turned her husband (Wilcoxon)
from her to the arms of another woman (Miss Dodd). She
agrees to a divorce but insists that their child (Sybil
Jason) stay with her; she arranges to give up her career
to devote her time to her child. Rut Sybil hates her mother
because, in line with her duty, she had refused to treat
Sybil's injured dog at the hospital, after which the dog
had died. Wilcoxon, while visiting Sybil one day during
her mother's absence, notices that the child was unhappy
and takes her to his country home. This annoys Miss Dodd.
Just as Sybil was preparing to go out horseback riding with
Miss Dodd, Miss Inescort arrives. In an effort to escape
from her mother, Sybil rides away ; she meets with an acci-
dent. Wilcoxon, in company with his wife and Miss Dodd,
puts Sybil in his plane in order to rush to the hospital.
Encountering a storm, he is unable to land, and Miss Ines-
cort is compelled to operate in the moving plane. Sybil
recovers. Wilcoxon realizes what a fool he had been; he
becomes reconciled with Miss Inescort, insisting that she
c intinue with her career.
Alice Altschuler and Miriam Geiger wrote the story, and
Joseph M. March, the screen play; Sidney Salkow directed
it, and Sol C. Siegcl produced it. In the cast are Cora
Witherspoon, Frank Reicher, Dickie Jones, and others.
Suitability, Class A.
"The Three Musketeers" with Don Ameche,
The Ritz Brothers and Binnie Barnes
(20th Century-Fox, Feb. 17; time, 72 mm.)
This musical comedy version of the old melodrama shapes
up a; fairly good mass entertainment. Although basically
the plot is the same as in the two versions produced first
by United Artists in 1921 and then by RKO in 1935, this
one differs somewhat in that it is treated more as a
comedy with music than as a swashbuckling melodrama.
The familiarity of the plot naturally lessens one's interest
in the outcome, and on occasion the action lags. Rut each
time the Ritz Rrothers appear one's interest is revived ;
they have been given good material and make the most of
it, provoking hearty laughter by their antics. Don Ameche
makes an appealing D'Artagnan; he handles the romance
and musical interludes well : —
D'A;ta:nan, learning from Constance, the Queen's at-
tendant (Pauline Moore) with whom he was in love, that
the Queen (Gloria Stuart) would be disgraced unless she
could get back an emerald brooch which she had given
to the Duke of Ruckingham as a token of her esteem, and
which the King had ordered her to wear at a bancjuet,
decides to help her. He enlists the aid of three bar room
attendants (The Ritz Rrothers), mistaking them for
Musketeers. Cardinal Richelieu and DeRochefort, desiring
to disgrace the Queen, send Lady deWinter (Rinnie
Rarnes ) to get the brooch from the Duke before D'Ar-
tagnan cou'd reach him. D'Artagnan, with the help of his
three Musketeers, takes the brooch from her. After many
exciting encounters with the Cardinal's men, during which
his life is endangered, D'Artagnan manages to outwit them
and to gain admittance to the palace. He gives the brooch
to Constance, who in turn gives it to the Queen just before
her entry into the main ballroom. Constance eventually
marries D'Artagnan.
The plot was taken from the Alexander Dumas novel ;
M. M. Musselman, William A. Drake, and Samuel Hell-
man wrote the screen play ; Allan Dwan directed it, and
Raymond Griffith produced it. In the cast are Joseph
Schildkraut, John Carradine, Lionel Atwill, Miles Mander,
and others.
Suitability, Class A.
February 18, 1939
HARRISON'S REPORTS
27
"Convict's Code" with Robert Kent,
Anne Nagel and Sidney Blackmer
{Monogram, Jan. 18; time, 63 min.)
A fair program melodrama. The story is not particularly
novel ; yet it holds one's attention fairly well because of the
sympathy one feels for the hero (Robert Kent), who had
been framed on a murder charge and sent to prison. Kent's
efforts to prove his innocense, by finding out the identity of
the man who had framed him, keep one in suspense because
of the danger to him. The action towards the end is fairly
exciting : — ■
As soon as he is paroled from prison, where he had been
sent on a framed charge, Kent goes to see his friend (Ben
Alexander), a newspaper reporter. He convinces him that
he was innocent, and asks for his help in locating the
witnesses who had testified falsely against him. But investi-
gat'on shows that they had all left town. Sidney Blackmer
gives Kent a position in his office ; Kent is unaware that
Blackmer was the man who had framed him and that he
had purposely given him the position so as to keep an eye
on him. Kent meets and falls in love with Blackmer's
sister (Anne Nagel); she returns his love. When Kent
eventually finds out the truth about Blackmer, he confronts
him ; but he tells him he would not say anything because of
Miss Nagel ; he then leaves. Blackmer sends his henchman
out to kill Kent. But when Miss Nagel confesses her love
for Kent, Blackmer rushes after his henchman. In a quarrel,
he kills th; man and is himself wounded. He confesses, thus
clearing Kent's name. Miss Nagel and Kent marry.
John Krafft and John T. Neville wrote the screen play,
Lambert Hillyer directed it, and E. B. Derr produced it.
In the cast are Norman Willis, Victor Kilian, Maude
Eburne, and others.
Not for children. Suitability, Class B.
"King of the Turf" with Adolphe Menjou
and Roger Daniel
(United Artists, Feb. 17; time, 87}4 min.)
A fairly good program human interest melodrama set
against a racetrack background. Although the story is
familiar and sentimental in spots, it holds one's attention
fairly well because of the good performances by Adolphe
Menjou and Roger Daniel, a youngster. It is doubtful,
however, if it will do better than average program business
for it lacks players of strong box-office appeal ; nor is the
production out of the ordinary. Because of the racetrack
angle, the p'cture directs its appeal mostly to men ; as far
as women are concerned, since the story lacks a romance,
the only appeal to them would be the sacrifice the father
makes for the sake of his son. The situation in the closing
scenes, where he disillusions the boy, touches one. The
final race has been handled in an exciting way : —
Adolphe Menjou, a former wealthy race horse owner,
who had lost all his money and taken to drink, is forced
to hop a train to get to the opening of another track. In
the car he meets young Daniel, a stable boy for a racing
outfit. Dan el, who loved horses, is thrilled when he learns
who Menjou was, for Menjou had been the trainer of
a famous jockey whom he had idolized. The trainer, en-
raged when he finds another person in the car, throws both
Menjou and Daniel out. Menjou is taken to a hospital, and
Daniel pays his bills by working at odd jobs. On his re-
lease, they go to an auction sale, where they buy a horse
for two dollars. With careful training, Menjou develops
the horse into a good racer and Daniel into a good
jockey. Daniel wins every race; once again Menjou is on
the top. But he is shocked, when he receives a visit from
his former wife (Dolores Costello), who had since re-
married, to learn that Daniel was his own son, who had
run away from home. She pleads with him to send the boy
back, but Menjou knows he would have to do something
drastic for Daniel adored him, without even knowing of
their relationship. In Daniel's presence, he enters into a
scheme with Alan Dinehart, a bookmaker, to throw the
race: Daniel, who hated crookedness, is heartbroken when
Menjou orders him to throw the race. Unable to follow
Menjou's instructions, he races and wins. Menjou, at the
end of the race, forces himself to slap the boy, thereby
completely disillusioning him. Daniel goes back home.
Dinehart, even though he had lost a fortune, cannot help
feeling sorry for Menjou.
George Bruce wrote the original screen play; Alfred E.
Green directed it, and Edward Small produced it. In the
cast are Walter Abel, William Demarcst, Harold Huber,
and others.
Suitability, Class A.
"Honolulu" with Robert Young, Eleanor
Powell, George Burns and Gracie Allen
(MGM, February 3; time, 83 min.)
Good mass entertainment. Although not a big picture,
it has been given a pretty lavish production ; in addition,
it offers comedy, music, romance, and dancing of the type
to appeal to most picture-goers. The story is familiar ; one
overlooks this, however, for the performances are engag-
ing and the plot developments amusing. Gracie Allen is
particularly good ; each time she appears she brightens
things up considerably, provoking hearty laughter by the
things she says. Eleanor Powell does four dances, the best
being her imitation of Bill Robinson in his famous staircase
tap rout'ne : — ■
Robert Young, a famous movie star, is tired of being
pursued by crowds, and longs for a rest. His chance comes
when he meets a young man, a Hawaiian plantation owner,
(also played by Young) who looked exactly like him. He
induces the plantation owner to change places with him —
the plantation owner to go to New York and make per-
sonal appearances, and he, the actor, to go to Hawaii where
he would pose as the plantation owner. On the boat to
Hawaii Young meets and falls in love with Miss Powell,
a dancer. But once he lands in Hawaii complications
arise, for he is greeted by the plantation owner's sweetheart
(Rita Johnson) and her father (Clarence Kolb). Miss
Johnson, who had been hesitant about marrying the plan-
tation owner, notices a marked difference in the way he
kissed her and decides to marry him. This puts Young in
an embarrassing position ; although he tells Miss Powell
the truth, she refuses to believe him. The plantation owner,
who had been in a hospital because of injuries he had
suffered from enthusiastic crowds, arrives in Honolulu on
the day of his supposed wedding to Miss Johnson. He
changes places with the actor and goes through with the
ceremony. Young then convinces Miss Powell that he loved
her, and they plan to marry.
Herbert Fields and Frank Partos wrote the original
story and screen play ; Edward Buzzell directed it, and
Jack Cummings produced it. In the cast are Jo Ann
Sayers, Ann Morriss, Willie Fung, Cliff Clark, and others.
Suitability, Class A.
"One Third of a Nation" with Sylvia Sidney
and Leif Erikson
(Paramount, Feb. 24; time, 75 min.)
This may be powerful propaganda in favor of slum
clearance, but it lacks entertainment values. No one will
disagree with the theory it presents for consideration — that
slum districts are a menace to civilization. The fault lies in
the manner in which it presents it, for it resorts to
preachment to get its message over. Filmed against the
sordid background of slum tenements inhabited by poverty-
stricken families, the picture tends to depress the spectator.
Even the romance lacks appeal, for it is unbelievable. The
one bright spot comes in the end, when the movement to
demolish slums is started by one landlord : —
While driving through the crowded slum tenement dis-
trict with a friend, Leif Erikson is stopped because of a
fire in one of the houses. He is shocked when he realizes
that several persons had died because the house was a fire
trap. A young boy (Sidney Lumet) is injured in trying
to escape by means of a broken fire-escape. The boy's sister
(Sylvia Sidney) asks for Erikson's help in getting her
brother to the hospital ; Erikson rushes her there. He
promises to pay the hospital bills and begs Miss Sidnev
not to worry. The doctors inform them that Lumet would
be crippled for life. When Erikson learns that he and his
sister owned the block of tenements where the fire had
occurred, he is ashamed, and insists on doing something
about it. But the manager of his estate laughs at him. Mi-s
Sidney and Erikson become good friends. She tells him of
her dreams that some day the slums would be demolished
and decent homes built in their stead. Erikson is fired with
the idea to tear down his old houses. But his sister opposes
him and threatens to take the matter to court and to
embarrass Miss Sidney. Lumet, who imagined he could
luar the house talk to him, sets fire to it one night ; it Inn ns
to the ground and he dies. But his death is not in vain, for
Erikson's sister finally sees the light. Ann in arm Erikson
and Miss Sidney watch the demolition of the old houses.
The plot was adapted from the play by Arthur Arent ;
Oliver H. P. Garrett wrote the screen play. Dudley
Murphy directed it, and Harold Orlob produced it. In tin-
cast arc Myron McCormick, Muriel Hutchinson, Hiram
Sherman, and others.
Too depressing for children. Adult fare. Class B.
28
HARRISON'S REPORTS
February 18, 1939
tice as one of the most significant in the history of
anti-trust laws, upheld an anti-trust decree issued
by a special three-judge, northern Texas Federal
Court against eight major distributors and Inter-
state Circuit, Inc., and Texas Consolidated Thea-
tres, Inc., motion-picture theatre chains. . . .
"While the decision applies only to Texas, Soli-
citor General Robert II. Jackson said that it was a
blow against monopolies and reopened the con-
troversial subject of the rights of copyright or
patent holders in as much as motion pictures are
copyrighted."
For a long time the producers, on advice of their
legal talents, were riding roughshod over the ex-
hibitors on the ground that, being the owners of
copyright, they had the right to do anything they
wanted with their films; but the highest court of
the land now says, in effect, that the advice of these
lawyers was wrong.
HIGH TIME TO CUT THE STRINGS
For a long time the motion picture producers
have been criticized for refusing to treat with any
subject that might arouse the temperamental na-
ture of foreign dictators. Frequently scripts, fully
adequate to he translated into good motion pictures,
have been either discarded or so completely altered
as to take every spark of life out of them ; and all
for fear of what might happen to the producer's
market in the dictatorship countries.
Now comes the announcement that I lollywood
has withdrawn from the Italian and German coun-
tries, although it might be more accurate to say
that it had been "kicked out" of these markets. In
Spain, with the victory of General Franco at
Barcelona, his government concluded a so-called
"cultural treat) " with Germany and Italy, which
provides, among other things, for "a general system
of trading music, motion picture and radio pro-
grams," which means that the Spanish market is
virtually closed to American motion pictures.
And Japan is now completing a set of regula-
tions under which it will be almost impossible for
American lilms to be shown in that country.
With the excuse that they are trying to protect
their foreign markets no longer of any force, the
producers have before them a great opportunity of
demonstrating what they can do in the production
of pictures unrestrained by the artificial strings
attached to production by touchy, temperamental
dictators.
Harrison's Reports ventures the prediction
that, if the producers will make the most of the
opportunity now before them, concentrating on
the production of pictures without regard to the
number of corns on the toes of each dictator, thev
will not only be rendering a service to democracy,
but will also increase the number of better pictures
that they will be giving to the movie-going public.
NORTH DAKOTA THEATRE DIVORCE
LAW REPEALED
The North Dakota theatre-divorce law, which
was passed in 1937, during the incumbency of Gov-
ernor Langel, was repealed by the North Dakota
Legislature last week. It now rests with Governor
Moses whether the repeal will become effective or
not.
The circumstances under which the repeal took
place are significant, and Harbison's Reports
predicts that the end of the story has not yet been
told. Read what the February 14 issue of film
Daily partly says :
". . . meanwhile there were complications regard-
ing the peculiar circumstances under which the
repeal measure flew through the N. D. House and
Senate with claims it was adopted under misappre-
hensions. R. R. Scholl, majority leader in the
house which is controlled by a Non-partisan league
bloc, introduced a resolution asking the Governor
to veto the measure 'because the House did not
discover the true situation until after passing the
bill under misapprehension of meaning and pur-
pose.'
"The House Judiciary Committee yesterday rec-
ommended for passage the resolution of Scholl,
asking Governor Moses to veto the divorcement
repeal bill. Report was withheld, however, on
Scholl 's request.
"The repeal measure was adopted by the House
Friday by a vote of 86 to 7, transmitted to the
Senate, and there was adopted with a vote of 43
to 5 at 2 p.m., Saturday.
"But shortly after convening Saturday, the house
voted 67 to 37 to reconsider the repeal bill. It failed,
however, to notify the Senate of its action in the
interim before the Senate adopted the bill.
"All of which, according to the legislature's
leading parliamentarians, means that the repeal
measure is passed beyond redemption and that its
fate lies entirely in the hands of the Governor.
" 'This looks mighty peculiar to the chair but it
looks as if we can't do anything about it,' was the
declaration of Oscar Hagen, speaker of the House.
"Scholl contended a number of members of the
House voted for the bill under the belief it repre-
sented a private fight between theatres in Bismarck
and Mandan, towns separated by the Missouri
river, and that they had no idea the divorcement
act was involved. . . ."
Notice that, of the 86 members of the lower
house who voted for the repeal, 67 voted the fol-
lowing day for reconsideration. (The repeal vote
was 86 to 7 ; the reconsideration vote was 67 to 37.)
In other words, if the 67 members, who are now
asking for reconsideration, had known the "mean-
ing and purpose" of the repeal bill, it is assumed
that they would not have voted for it, and it would
not have passed.
Notice also that the House majority leader
Scholl, who introduced the resolution that requests
the Governor to veto the bill, said that the members
of the house — the 67 members, no doubt — did not
discover the true situation until after the bill was
passed under "misapprehension of meaning and
purpose."
In view of the fact that so large a majority of
the House members have petitioned Governor
Moses to veto the bill, the Governor is certainlv
put into a peculiar position. Will he dare refuse to
veto it? If he should not veto it, what will be his
excuse ?
Under the heading "Paramount Active In North
Dakota For Repeal of Divorcement Law," printed
in the February 4th issue, this paper acquainted
the trade with the activities of Paramount in North
Dakota against the Divorcement Law, and ex-
pressed the opinion that, if it should be successful,
the U. S. Supreme Court may refuse to decide the
question of the constitutionality of the law, in the
appeal pending before it, on the ground that the
question has become academic.
As said in the beginning of this article, the last
word on the North Dakota Divorcement law may
not have been spoken yet.
IN TWO SECTIONS— SECTION TWO
HARRISONS REPORTS
Vol. XXI
NEW YORK, SATURDAY, FEBRUARY 18, 1939
No. 7
(Partial Index No. 1 — Pages 2 to 24 Incl.)
Title of Picture Reviewed on Page
Ambush — Paramount (61J/> min.) 10
Arizona Legion — RKO (58 min.) 10
Arizona Wildcat, The — 20th Century-Fox (69 min.).. 15
Awakening of Katrina, The — MGM (See "The Girl
Downstairs") 2
Billy the Kid Returns — Republic (56m.) . . .Not Reviewed
Black Bandit — Universal (57m.) Not Reviewed
Boy Slaves— RKO (71 min.) 14
Boy Trouble — Paramount (73 min.) 22
Burn 'Em Up O'Connor— MGM {69y2 min.) 15
California Frontier — Columbia (54m.) .... Not Reviewed
Charlie Chan in Honolulu — 20th Century-Fox (67m.). 7
Crackerjack — Gaumont-British (See "Man with 100
Faces") 186
Crooked Way — Monogram (See "Gang Bullets") ....202
Devil's Island — Warner Bros. (62 min.) 6
Disbarred — Paramount (59 min.) 10
Escape from Yesterday — Paramount (See "Ride a
Crooked Mile") 202
Federal Man Hunt — Republic (63 min.) 7
Fifth Round, The— Monogram (See "Tough Kid") .. 6
Fighting Thoroughbreds — Republic (65 min.) 11
Fisherman's Wharf — RKO (71 min.) 23
Four Girls in White— MGM (73 min.) . 23
Frontiersman, The — Paramount (73j^m.) .. Not Reviewed
Gambling Ship — Universal (61 min.) 3
Girl Downstairs, The— MGM (76 min.) 2
Great Man Votes, The— RKO (71 min.) 10
Guilty Trail — Universal (57m.) Not Reviewed
Gunga Din— RKO (116 min.) 19
Gun Packer — Monogram (49m.) Not Reviewed
Hell for Leather — MGM (See "Burn 'Em Up
O'Connor") 15
Homicide Bureau — Columbia (59 min.) 23
Idiot's Delight— MGM (106^ min.) 22
In Early Arizona — Columbia (53m.) Not Reviewed
It Happened in Hollywood— Republic (See "A
Desperate Adventure") 130
Jesse James — 20th Century-Fox (105 min.) 11
Kentucky — 20th Century-Fox (95 min.) 3
King of the Underworld — Warner Bros. (68 min.) ... 11
Law of the Texan — Columbia (54m.) Not Reviewed
Lone Wolf's Spy Hunt — Columbia (71 min.) 18
Man from Music Mountain — Repub. (58m.). Not Reviewed
Mexicali Kid — Monogram (51m.) Not Reviewed
Mr. Moto's Last Warning — 20th Century-Fox (71m.) . 15
Mysterious Miss X, The — Republic (64 min.) 14
Mysterious Rider — Paramount (72m.) .... Not Reviewed
Nancy Drew, Reporter — First National (68 min.).... 22
Navy Secrets — Monogram (60 min.) 22
Newsboys' Home — Universal (72 min.) 7
Off the Record— Warner Bros. (70 min.) 19
Overland Stage Raiders — Republic (55m.) .Not Reviewed
Pacific Liner— RKO (75 min.) 2
Pals of the Saddle — Republic (55m.) Not Reviewed
Pardon Our Nerve — 20th Century-Fox (67^ min.) .. 18
Paris Honeymoon — Paramount (85 min.) 3
Peggy and Partner — Columbia (See "Blondie") 186
Persons in Hiding — Paramount (70 min.) 18
Pirates of the Skies — Universal (61 min.) 11
Prairie Justice — Universal (57m.) Not Reviewed
Prairie Moon — Republic (59m.) Not Reviewed
Pride of the Navy — Republic (63 min.) 19
Rhythm of the Saddle — Republic (58m.) Not Reviewed
RlO Grande — Columbia (59m.) Not Reviewed
St. Louis Blues — Paramount (86 min.) 18
Skids— MGM (See "Burn 'Em Up O'Connor") 15
Smiling Along — 20th Century-Fox (92 min.) 6
Son of Frankenstein — Universal (98 min.) 14
Stand Up and Fight — MGM (96 min.) 6
Starlight over Texas — Monogram (56m.) .Not Reviewed
Stranded in Paris — Paramount (See "Artists and
Models Abroad") 194
Stranger from Arizona, The — Columbia (56m.)
Not Reviewed
Tailspin— 20th Century-Fox (83^ min.) 23
They Made Me a Criminal — Warner Bros. (92 min.) . . 15
Tom Sawyer, Detective— Paramount (67 min.) 3
Topper Takes a Trip— United Artists (80 min.) 2
Torchy Bla ne in Chinatown — First National (57 min.) 19
Tough Kid — Monogram (59 min.) 6
Trade Winds— United Artists (93'/2 min.) 2
West of Santa Fe — Columbia (57m.) Not Reviewed
Where the Buffalo Roam — Mono. (62m.) . . Not Reviewed
Wings of the Navy— Warner Bros. (88^ min.) 14
Zaza — Paramount (84 min.) 7
RELEASE SCHEDULE FOR FEATURES
Columbia Features
(729 Seventh Ave., Neiv York, N. Y.)
9050 The Terror of Tiny Town— Midgets (63m.) .Dec. 1
9202 Rio Grande— Starrett (59m.) Dec. 8
9022 The Strange Case of Dr. Mead— Holt Dec. 15
9006 There's That Woman Again — Douglas-Bruce Dec. 24
9015 Smashing the Spy Ring— Wray-Bellamy Dec. 29
9035 Homicide Bureau — Cabot-Hay worth (re.) ...Jan. 5
9203 The Thundering West — Starrett (58m.) Jan. 12
9212 Frontiers of '49— All star west. (54!^m.) Jan. 19
9014 Lone Wolf's Spy Hunt (Lone Wolf's Daughter) —
William-Lupino-Weidler Jan. 27
9204 Texas Stampede— Starrett (57l/2m.) Feb. 9
9038 North of Shanghai— Furness-Craig (re.) ...Feb. 10
My Son is a Criminal— A. Baxter-J. Wrells. .Feb. 22
Let Us Live— Fonda-O'Sullivan Feb. 28
Romance of the Redwoods — Bickford-Parker Mar. 2
Blondie Meets the Boss — Singleton-Lake ..Mar. 8
9213 Lone Star Pioneers — All star west. (55m.) .Mar. 16
Whispering Enemies — J. Holt-D. Costello. . .Mar. 24
The Lady and the Mob — Bainter-Lupino ...Apr. 3
First National Features
(321 W. 44th St., Neiv York, N. Y.)
351 Angels With Dirty Faces — Cagney-O'Brien ..Nov. 24
370 Comet Over Broadway — Francis-Hunter Dec. 3
362 Heart of the North— Foran-Dickson Dec. 10
359 Going Places — Powcll-Louise-Huber Dec. 31
371 Torchy Blane in Chinatown — Farrell Feb. 4
372 Nancv Drew, Reporter — Granville-Thomas ...Feb. 18
357 Yes, My Darling Daughter — P. Lane-Lynn ...Feb. 25
Sweepstakes Winner — Wilson-Jenkins Mar. 18
Blackwcll's Island— Garfield-R. Lane Mar. 25
Grand National Features
(50 Rockefeller Plasa, New York, N. Y.)
312 Cipher Bureau — L. Ames — J. Woodbury Nov. 4
345 The Sunset Murder Case — S. Rand (57m.) . . .Nov. 11
313 The Long Shot — Jones-Hunt (69m.) Jan. 6
Wl-l Water Rustlers— Dorothv Page (54m.) ...Jan. 6
WT-13 Trigger Pals— Jarrett- Powell (55m.) Jan. 14
Wl-2 Ride 'Em Cowgirl — Dorothy Page (52m.) .Jan. -'()
{"Exile Express." listed in tin- last Judex as a January _'D
release, has been postponed.)
Metro-Goldwyn-Mayer Features
( 1540 Broadway, New York, N. Y.)
917 A Christmas Carol— Owen-Kilburn Dec. 16
916 The Girl Downstairs — Gaal-Tonc-Connolly ...Dec. 23
910 Sweethearts— MacDonald-Eddy-F. Morgan ..Dec. 30
918 Stand Up and Fight— Taylor- Beery-Rice Jan. 6
919 Burn 'Em Up O'Connor— O'Keefe-Parker Jan. 13
No release set for Jan. 20
920 Idiot's Delight— Shearer-Gable (re.) Jan. 27
921 Four Girls In White— Ricc-A. Marshall Jan. 27
922 Honolulu— E. Powell- Voung-G. Allen-Burns. Feb. 3
923 The Adventures of Huckleberry Finn—
M. Rooney-W. Connolly Feb. 10
924 Fast and Loose— Russell-Montgomery Feb. 17
u2<) Let Freedom Ring— E<ldy-Bruce-L. Barrymore Feb. 24
925 The Ice Follies of 1939— Crawford-Stewart ..Mar. 3
Monogram Features
(1270 Sixth Ave., New York, N. Y.)
3851 Gun Packer— lack Randall (49m.) Nov. 16
3818 Gang Bullets— Anne Nagel Nov. 23
3861 Song of the Buckaroo— Ritter (56m.) Nov. 23
3812 I Am a Criminal— J. Carroll Dec. 14
3852 Wild Horse Canyon— Randall (50m.) Dec. 21
3819 Tough Kid— Frankie Darro Dec. 28
3822 Convict's Code— Nagel-R. Kent (re.) Jan. 18
3853 Drifting Westward— Jack Randall (49m.) ...Jan. 25
3815 Navv Secrets— Wray- Withers (re.) Feb. 1
3862 Sundown on the Prairie— Ritter (53m.) (re.) .Feb. 8
3S28 Little Pal (The Healer)— Reissue Feb. 18
3821 Star Reporter— Hull-Hunt Feb. 22
3820 Mystery of Mr. Wong— Boris Karloff Mar. 1
3863 Roll in' "Westward— Tex Ritter Mar. 1
Sky Pirate— Trent-Young Mar. 8
3854 Trigger Smith— Randall Mar. 15
Paramount Features
(1501 Broadway. New York. N. Y .)
3817 Artists and Models Abroad— Benny Dec. 30
3818 Disbarred— Patrick-Kruger (re.) Jan. 6
3819 Zaza— Colbert-Marshall-Lahr Jan. 13
3820 Ambush— Swarthout-Nolan-Henry Jan. 20
3821 Paris Honeymoon— Crosby-Gaal Jan. 27
3822 St. Louis Blues — Nolan-Lamour Feb. 3
3823 Persons in Hiding— Overman-Naish Feb. 10
3824 Bov Trouble— Ruggles-Boland Feb. 17
3825 One Third of a Nation— Sidney (re.) Feb. 24
3857 Sunset Trail— Boyd-Hayes (68m.) Feb. 24
3826 Cafe Society— Carroll-MacMurray Mar. 3
3863 The Beachcomber— Laughton Mar. 10
King of Chinatown— Wong-Tamiroff (re.) . .Mar. 17
Hotel Imperial— Miranda-Mil'.and Mar. 24
Sudden Money — Ruggles-Rambeau Mar. 31
385S Silver on the Sage— William Boyd Mar. 31
Republic Features
(1776 Broadway, New York. N. Y.)
852 Shine On Harvest Moon— Rogers-Hart (57m) Dec. 23
820 Federal Man Hunt— Livingston-Travis Dec. 26
821 Fighting Thoroughbreds— Byrd-Carlisle Jan. 6
809 Mysterious Miss X— Whalen-Hart Jan. 10
822 Pride of the Navy— Dunn-Hudson Jan. 23
842 Home on the Prairie— Autry (59m.) Feb. 3
808 Woman Doctor— Incscort-Wilcoxon- Jason ...Feb. 6
RKO Features
(1270 Sixth Ave., New York. N. Y.)
1937-38 Season
844 Fisherman's Wharf— Breen-Carrillo Feb. 3
1938 39 Season
910 Next Time 1 Marry— Ball-Ellison Dec. 9
914 Pacific Liner— McLaglen-Morris-Barrie Jan. 6
913 Great Man Votes — J. Barrymore-Weidler ....Jan. 13
982 Arizona legion— George O'Brien Jan. 20
911 Boy Slaves— Shirley-Baxter Feb. 10
912 Gunga Din — Grant-McLaglen-Fairbanks, Jr... Feb. 17
915 Beautv for the Asking— Ball-Knowles Feb. 24
Twentieth Century-Fox Features
(444 W. 56th St., New York, N. Y.)
913 Suez — Power- Young-Annabella Oct. 28
914 Always in Trouble — Withers Nov. 4
915 Just Around the Corner — Temple Nov. 11
916 Sharpshooters — Donlevy-Bari Nov. 18
909 Subma rine Patrol — Greene-Kelly Nov. 25
918 Road Demon — Arthur-Valerie- Armetta Dec. 2
924 Up the River — Martin-Brooks-Foster Dec. 9
920 Down on the Farm — Jed Prouty Dec. 16
917 Thanks for Everything — Menjou-Oakie Dec. 23
923 Kentucky — Young-Greene-Brennan Dec. 30
922 While New York Sleeps — Whalen-Rogers ...Jan. 6
8010 The Lady Vanishes — Lockwood-Redgrave ..Jan. 6
928 Charlie Chan in Honolulu — Toler-Brooks ....Jan. 13
926 Mr. Moto's Last Warning — Lorre-Cortez ....Jan. 20
933 Smiling Along — Fields-Maguire-Livesey Jan. 20
921 Jesse James — Power-Fonda-Kelly Jan. 27
929 The Arizona Wildcat— Withers-Carrillo Feb. 3
925 Tail Spin— Faye-C. Bennett-Kelly-Farrell ...Feb. 10
927 The Three Musketeers — Ameche-Ritz Bros. ..Feb. 17
931 Pardon Our Nerve — Bari-Gale-Whalen Feb. 24
930 Wife Husband and Friend — Young-Baxter . . .Mar. 3
934 Inside Story — Whalcn-J. Rogers-Chandler ...Mar. 10
932 The Little Princess — Temple-Greene Mar. 17
935 Everybody's Baby — Prouty-Deane-Byington .Mar. 24
936 The Hound of the Baskervillcs — Greene-
Rathbone-Louise-Bruce Mar. 31
United Artists Features
(729 Seventh Ave., New York, N. Y.)
The Young in Heart — Gaynor-Fairbanks, Jr. (re.) .Nov. 3
The Cowboy and the Lady — Coopcr-Oberon Nov. 17
Trade Winds — March-J. Bennett-Sothern Dec. 22
The Duke of West Point — T. Brown-Hayward .... Dec. 29
Topper Takes a Trip — C. Bennett- Young-Burke ..Jan. 12
Made For Each Other — Lombard-J. Stewart Feb. 10
King of the Turf — Mcnjou-D. Costello-Abel Feb. 17
Stagecoach — Trevor-Wayne-Devine-Carradine ...Mar. 3
Universal Features
(1250 Sixth Ave., New York, N. Y.)
A3016 The Storm— Bickford-MacLane-Grey Oct. 28
A3028 The Last Express— K. Taylor-D. Kent ....Oct. 28
A3032 Exposed — Farrell-Kruger Nov. 4
A3053 Prairie Justice — Bob Baker (57 min.) Nov. 4
A3036 His Exciting Night— Ruggles-Munson Nov. 11
A3042 Mars Attacks the World— (67^4 min.) ...Nov. 18
A301 1 Little Tough Guys in Society — Boland Nov. 25
A3035 Strange Faces — Kent-Jenks Dec. 2
A3022 Secrets of a Nurse — Lowe-Mack Dec. 9
A3054 Ghost Town Riders— Bob Baker (54m.) . . .Dec. 16
A3021 Swing Sister Swing — Murray-Downs-Kane.Dec. 16
A3015 Newsboys' Home— J. Cooper-W. Barrie ...Dec. 23
A3027 The Last Warning — Foster-Jenks Jan. 6
A3004 Son of Frankenstein— Karloff -Rathbone . . .Jan. 13
A3055 Honor of the West— Bob Baker (58m.) . . . Jan. 13
A3023 Gambling Ship— Alack- Wilcox Jan. 20
A3033 Pirates of the Skies— K. Taylor Feb. 3
A3056 The Phantom Stage— Bob Baker (57m.) ..Feb. 10
You Can't Cheat an Honest Man — Fields . . .Feb. 17
Society Smugglers — Foster-Hervey Feb. 24
Risky Business — G. Murphy-D. Kent Mar. 3
Three Smart Girls Grow Up — Durbin . . . .Mar. 10
Warner Bros. Features
(321 W. 44th St., Neiv York, N. Y.)
302 The Sisters — Flvnn-Davis-Louise Oct. 15
310 Hard to Get— Powell-DeHavilland Nov. 5
318 Torchy Gets Her Man — Farrell-MacLane . . . .Nov. 12
319 Nancy Drew, Detective — Granville-Litel (re.) .Nov. 19
303 The Dawn Patrol — Flynn-Rathbone-Niven ..Dec. 24
313 Devil's Island — Karloff-Harrigan Jan. 7
317 King of the Underworld — Bogart (re.) Jan. 14
314 Off the Record— O'Brien-Blondell Jan. 21
307 They Made Me A Criminal— Garfield (re.) . . Jan. 28
Wings of the Navy — Brent-deHavilland Feb. 11
321 The Adventures of Jane Arden — Towne Mar. 4
The Oklahoma Kid — Cagney-Bogart-R. Lane. Mar. 11
SHORT SUBJECT RELEASE SCHEDULE
Columbia — One Reel
9802 Ski Rhythm— Sport Thrills (9l/2m.) Nov. 4
9652 Community Sing No. 2— (10^m.) Nov. 4
9551 Bermuda, Islands of Paradise — Tours
(I0y2 min.) Nov. 4
9752 Happy Birthday — Scrappys (6;n. ) Nov. 17
9552 Province of Quebec (Provincial Quebec) —
Tours (lOj^m.) Nov. 18
9901 Washington Parade— Issue 81 (10m.) Nov. 18
9853 Screen Snapshops No. 3— (9^m.) Nov. 20
9504 Midnight Frolics— Color Rhapsody (7l/2m.) Nov. 24
9653 Community Sing No. 3 — (\0'/2m.) Dec. 2
9703 The Lone Mountie— Krazy Kat (6j£m.) . . . .Dec. 10
9854 Screen Snapshots No. 4— (9J/2m.) Dec. 15
9505 The Kangaroo Kid — Color Rhapsody (7'/2m.) Dec. 23
9803 King Vulture— Sport Thrills (lOj/m.) Dec. 23
9654 Community Sing No. 4— (lO^m.) Dec. 30
9902 Washington Parade — Issue 82 (11m.) Jan. 6
9855 Screen Snapshots No. 5 — (9m.) Jan. 6
9753 Scrappy 's Added Attraction— Scrappys
(6^m.) Jan. 13
9961 A Night In a Music Hall— Music Hall
Vanities (11m.) Jan. 20
9506 Peaceful Neighbors — Color Rhap. (8m.) Jan. 26
9804 Odd Sports (Get Ready Navy)— Sport Thrills
(reset) Jan. 27
9704 Krazy 's Bear Tale — Krazy Kat Jan. 27
9655 Community Sing No. 5 — (9}/;m.) Jan. 27
9553 Big Town Commuters — Tours Feb. 3
9856 Screen Snapshots No. 6— (10m.) Feb. 17
9507 The Gorilla Hunt— Color Rhapsody Feb. 24
9805 Get Ready Navy— Sport Thrills Feb. 24
9656 Community Sing No. 6 Feb. 24
9903 Washington Parade- — Issue $3 Mar. 3
9657 Community Sing No. 7 Mar. 24
Columbia — Two Reels
9135 The Octopus Unmasked — Spider 315 (15m.) .Jan. 27
9181 Challenge in the Skv — Flying G-Men No. 1
(29m.) Jan. 28
9182 Flight of the Condemned — G-men 82 (16m.) . . Feb. 4
9429 Mutinv on the Body— All star com. (17^m.) .Feb. 10
9183 The Vulture's Nest— G-Men 83 (18m.) Feb. 11
9184 The Falcon Strikes— G-Men £4 Feb. 18
9405 We Want Our Mummv— Stooges (16^m.) ..Feb. 24
9185 Flight From Death— G-Men 85 Feb. 25
9186 Phantom of the Sky— G-Men 86 Mar. 4
9430 The Sap Takes a Rap— All star com. (16m.) Mar. 10
9187 Trapped bv Radio— G-Men 87 Mar. 11
9188 Midnight Watch— G-Men 88 Mar. 18
9431 Boom Goes the Groom — All star com. (17m.) Mar. 24
9189 Wings of Death— G-Men 89 Mar. 25
9190 Flaming Wreckage — G-Men 810 Apr. 1
Metro-Goldwyn-Mayer — One Reel
1937- 38 Season
W-692 The Captain's Christmas — Capt. Cartoon
technicolor (8m.) Dec. 17
W-693 Petunia Natural Park— Capt. cart. (9m.) ..Jan. 14
(End of 1937-38 Season)
1938- 39 Season
T-855 Singapore and Jahore — Traveltalk (9m.) ..Dec. 31
M-875 The Great Heart — Miniatures (11m.) Dec. 31
C-935 Alfalfa's ATmt— Our Gang Jan. 7
S-904 Double Diving— Pete Smith (8m.) Jan. 14
T-856 Ancient Egypt — Traveltalk Jan. 21
K-922 New Roadways— Passing Parade (10m.) . . Jan. 28
F-954 How To Sublet— Benchley (8m.) Jan. 28
W-881 Seal Skinners— Cartoons (8m.) Jan. 28
M-876 Ice Antics — Miniatures Feb. 11
S-905 Heroes at Leisure— Pete Smith (10m.) Feb. 11
T-857 Imperial Delhi— Traveltalks Feb. 18
K-923 The Story of Alfred Nobel— Pass. Parade .Feb. 18
C-936 Tiny Troubles — Our Gang Feb. 18
Metro-Goldwyn-Mayer — Two Reels
R-802 Once Over Lightly— Mus. (19m.) Dec. 31
R-803 A Dream of Love— Mus. (17m.) Jan. 28
Paramount — One Reel
V8-4 Raising Canines — Paragraphic (9!/2m.) Nov. 11
E8-4 A Date to Skate— Popeye cart. (7m.) Nov. 18
R8-5 Super-Athletes— Sportlight (9]/2m.) Nov. 25
T8-4 On With the New— Betty Boop (6m.) Dec. 2
A8-5 Hal Kemp and His Orch.— Head. (9m.) Dec. 2
L8-3 Unusual Occupations 83 — (10m.) Dec. 2
K8-3 Costa Rica — Color Cruises (9m.) Dec. 2
P8-5 Paramount Pictorial 85— (8^m.) Dec. 9
V8-5 Oh Say, Can You Ski— Para. (lO^m.) Dec. 16
R8-6 Frolicking Frogs — Sport. (9'/2m.) Dec. 23
T8-5 Pudgy in Thrills and Chills— B. B. (5^m.) .Dec. 23
E8-5 Cops Is Always Right— Popeye (7m.) Dec. 30
C8-3 Always Kickin' — Color Classic (7m.) Jan. 6
A8-6 A Song is Born— Headliner (9^>m.) Jan. 6
P8-6 Paramount Pictorial 86 — (9m.) Jan. 6
J8-3 Popular Science 83 — (10m.) Jan. 6
V8-6 The Unfinished Symphony — Para. (10m.) ...Jan. 13
T8-6 My Friend the Monkey — B. Boop (6m.) Jan. 20
R8-7 Two Boys and a Dog— Sport. (9^m.) Jan. 20
E8-6 Customers Wanted — Popeye (7m.) Jan. 27
K8-4 Land of Inca Memories — Color Cruise (9m.) . Ian. 27
A8-7 Music Through the Years— Head. (10m.) ...Feb. 3
P8-7 Paramount Pictorial 87— (8^2m.) Feb. 3
L8-4 Unusual Occupations 84 Feb. 3
V8-7 That's Africa — Paragraphic (9m.) Feb. 10
R8-8 Hold Your Breath— Sport. (9m.) Feb. 17
T8-7 So Does An Automobile — Betty Boop Feb. 17
E8-7 Leave Well Enough Alone — Popeye Feb. 24
RKO — One Reel
94303 Bird Dogs— Sportscope (10m.) Nov. 4
94603 Dude Ranch— Reelism (9m.) Nov. 11
94204 Venetian Moonlight— Nu Atlas (11m.) Nov. 25
94104 Ferdinand the Bull— Disney (8m.) Nov. 25
94304 Blue Grass — Sportscope (10m.) Dec. 2
94105 Merbabies— Disney (9m.) Dec. 9
94604 Newsreel— Reelism (10m.) Dec. 9
94205 Cafe Rendezvous— Nu Atlas (10m.) Dec. 23
94106 Mother Goose Goes Hollywood — Disney
(8 min.) Dec. 23
94305 On the Wing — Sportscope (10m.) Dec. 30
94107 Donald's Lucky Day— Disney (8m.) Jan. 13
94206 Tropical Topics— NuAtlas (10m.) Jan. 20
94306 Bow String — Sportscope (9m.) Jan. 27
94108 Societv Dog Show— Disney (8m.) Feb. 3
94605 Pilot Boat— Reelism (9m.) Feb. 3
94060 Gold— Reelism Feb. 10
94207 Readin' Ritin' and Rhythm— NuAtlas ( 10m.) Feb. 17
94307 Not Yet Titled— Sportscope Feb. 24
94109 Practical Pig— Disney (8m.) Feb. 24
RKO — Two Reels
93502 Prairie Papas— Ray Whitley (18m.) Dec. 16
93105 March of Time— (18m.) Dec. 23
93602 Romancing Along— Headliner (21m.) Dec. 30
93703 Crime Rave— Leon Errol (18m.) Jan. 13
93106 March of Time— (18m.) Jan. 20
93403 Maid to Order— E. Kennedv (18m.) Jan. 27
93202 Plumb Crazv— Radio Flash (16m:) Feb. 3
93107 March of Time Feb. 17
93603 Swing Vacation — Headliner (19m.) Feb. 24
9524
9602
9507
9302
9525
9403
9508
9103
9526
9104
9509
9303
9510
9105
9527
9603
Twentieth Century-Fox — One Reel
Gandy Goose in Doomsday — T.Toon (6l/2m.) .Dec. 16
Fashion Forecasts — (9j/>m.) Dec. 23
Gandy Goose in the Frame Up — T.T. (6l/2m.) .Dec. 30
Shooting For Par — Sports (\Ql/2m.) Jan. 6
The Owl and the Pussycat — T.Toon (6^m.) . Jan. 13
What Every Inventor Should Know — Lew
Lehr (11m.) Jan. 20
One Gun Gary in Nick of Time — T.T. (7m.) .Jan. 27
Isle of Pleasure — Lowell Thomas (lOj/jm.) . .Feb. 3
The Three Bears — T. Toon (6l/2m.) Feb. 10
The Viking Trail— Lowell Thomas (10^m.) .Feb. 17
Frozen Feet — T. Toon (7m.) Feb. 24
Hunting Dogs — Sports Mar. 3
Gandy Goose in G Man Jitters — T. Toon Mar. 10
Mystic Siam — Lowell Thomas (10m.) Mar. 17
The Nutty Network — T. Toon Mar. 24
Fashion Forecasts No. 3 Mar. 31
A3366
A3242
A3243
A3354
A3367
A3244
A3355
A3368
A3245
A3356
A3246
A3369
A3247
A3248
A3557
A3370
A3249
A 3358
A3371
A3359
A 3225
A3690
A3691
A3692
A3693
A3226
A3781
A3782
A3783
A 3784
A 3785
A3227
A3786
A3787
A3788
A 3789
A3228
Universal — One Reel
Stranger Than Fiction Jf55— (9^m.) Oct. 10
Rabbit Hunt — Lantz cartoon (7m.) Oct. 17
The Sailor Mouse — Lantz Car. (7m.) ....Nov. 7
Going Places With Thomas $56 — (10m.) . .Nov. 14
Stranger Than Fiction 356 — (9m.) Nov. 21
Disobedient Mouse— Lantz Cart. (8m.) ...Nov. 28
Going Places With Thomas 857— (S'Am.) . Nov. 28
Stranger Than Fiction 957— (9m.) Dec. 5
Baby Kittens— Lantz cart. (8m.) Dec. 19
Going Places With Thomas if 58— (9m.) . . .Dec. 26
Little Blue Blackbird — Lantz cart. (7m.) .. Dec. 26
Stranger Than Fiction 358 — (9m.) Jan. 2
(3248) Soup to Mutts (Crack Pot Cruise) —
Lantz cartoon (7m.) Jan. 9
I'm Just a Jitterbug — Lantz cart. (7m.) ....Jan. 23
Going Places With Thomas 359— (9m) (r.) .Jan. 30
Stranger Than Fiction 359 — (9m.) Feb. 6
Magic Beans — Lantz cart. (7m.) Feb. 13
Going Places With Thomas 360— (10m.) . . .Feb. 20
Stranger Than Fiction 860 — (9m.) Mar. 6
Going Places With Thomas 861— (9m.) . . .Mar. 13
Universal — Two Reels
Music and Models — Mentone (18m.) Dec. 14
The False Trail— Barry 310 (20m.) Dec. 20
Heavy Odds— Barry 811 (19m.) Dec. 27
The Enemy Within— Barry 812 (19m.) . . . .Jan. 3
Mission of Mercy — Barry 813 (20m.) Jan. 10
Nautical Knights — Mentone (19m.) Jan. 11
Death Rides the Air — Scouts to the Rescue
81 (20 min.) Jan. 17
Avalanche of Doom — Scouts 82 (22m.) Jan. 24
Trapped by Indians — Scouts 83 (21m.) . . . .Jan. 31
River of Doom — Scouts 84 (20m.) Feb. 7
Descending Doom — Scouts 85 (18m.) Feb. 14
Wild & Bully— Mentone (19m.) Feb. 15
Ghost Town Menace — Scouts 86 (20m.) . . .Feb. 21
Destroyed by Dynamite — Scouts 87 (19m.) .Feb. 28
Thundering Hoofs — Scouts 88 (17m.) Mar. 7
The Fire God Strikes— Scouts 89 (18m.) . .Mar. 14
Bank Notes — Mentone (19m.) Mar. 15
Vitaphone — One Reel
4804 The Daffy Doc — Looney Tunes (7m.) Nov. 26
4604 Nature's Mimics — Color Parade (10m.) ....Dec. 3
4506 Daffy Duck in Hollywood— Mer. Mel. (8m.) .Dec. 3
4705 Happy Felton & Orch.— Mel. Mast. (10m.).. Dec. 3
4304 Treacherous Waters — True Adv. (10m.) Dec. 10
4904 Robbin' Good— Vit. Varieties (10m.) Dec. 10
4805 Porky the Gob— Looney Tunes (8m.) Dec. 17
4507 Count Me Out — Merrie Melodies (7m.) Dec. 17
4706 Dave Apollon & Orch.— Mel. Mast. (11m.) . .Dec. 24
4508 The Mice Will Plav— Mer. Mel. (7m.) Dec. 31
4605 Mechanix Illustrated 82— Col. Par. (10m) (r). Tan. 7
4305 Human Bomb— True Adv. (11m.) Jan. 7
4707 Clvde Lucas & Orch.— Mel. Mast. (10m.) ...Jan. 7
4806 The Lone Stranger & Porky— L. T. (7m.) . . . .Jan. 7
4509 Doggone Modern — Mer. Mel. (7m.) Tan. 14
4905 Ski Girl— Varieties (8m.) Jan. 14
4708 Blue Barron & Orch.— Mel. Mast. (8m.) Tan. 21
4510 Ham-ateur Night— Mer. Mel. (8m.) Tan. 28
4807 It's An 111 Wind— L. Tunes (7m.) Jan. 28
4606 Points on Pointers — Color Par. (9m.) Tan. 28
4306 High Peril— True Adventures (9m.) Feb. 4
4709 Terrv Livingston & Orch.— Mel. Mnst. (10m.). Feb. 4
4511 Robinhood Makes Good— Mer. Mel. (8m.) . . .Feb. 11
4R08 Porky's Tire Trouble— L. Tunes (7m.) Feb. 18
4906 Gadgeteers— Varieties film.) Feb. 18
4403 The Master's Touch — Tech. Snccial Feb. 18
4607 Mechanix Illustrated No. 3 — Color Par Feb. 25
4512 Goldnish Daze — Mer. Melodies (7m.) Feb. 25
4710 Russ Morgan & Orch. — Mel. Masters Feb. 25
Vitaphone — Two Reels
4003 Swingtime in the Movies — Tech. Pro. (20m.). Jan. 7
4021 Sophomore Swing — Bwav. Brev. (18m.) Jan. 21
4019 Small Town Idol— Bway. Brev. (16m.) Feb. 4
4004 Lincoln in the White House— Tech. (21m.) . .Feb. 11
4020 Sundae Serenade — Bway. Brev. (17m.) Feb. 25
(4018 "Sparc Parts," listed in the last Index as a January
21 release, has been postponed.)
NEWSWEEKLY
NEW YORK
RELEASE DATES
Universal
745 Wednesday
746 Saturday . .
747 Wednesday
748 Saturday ..
749 Wednesday
750 Saturday . ,
751 Wednesday
752 Saturday . .
753 Wednesday
754 Saturday . .
755 Wednesday
756 Saturday . ,
757 Wednesday
.Feb. 15
.Feb. 18
. Feb. 22
. Feb. 25
1
4
8
11
. Mar.
. Mar.
. Mar.
. Mar.
.Mar. 15
.Mar. 18
. Mar. 22
. Mar. 25
. Mar. 29
Fox Movietone
45 Wednesday .
46 Saturday . . .
47 Wednesday .
48 Saturday . . .
49 Wednesday
50 Saturday . .
51 Wednesday
52 Saturday .
53 Wednesday
54 Saturday .
■ 55 Wednesday
56 Saturday .
57 Wednesady
..Feb. 15
. . Feb. 18
..Feb. 22
..Feb. 25
..Mar. 1
..Mar. 4
. . Mar. 8
. .Mar. 11
..Mar. 15
. .Mar. 18
. . Mar. 22
..Mar. 25
. . Mar. 29
Paramount News
56 Wednesday
57 Saturday . .
58 Wednesday
59 Saturday . ,
60 Wednesday
61 Saturday .
62 Wednesady
63 Saturday .
64 Wednesday
65 Saturday .
66 Wednesday
67 Saturday .
68 Wednesday
..Feb. 15
..Feb. 18
..Feb. 22
..Feb. 25
..Mar. 1
..Mar. 4
..Mar. 8
. .Mar. 11
..Mar. 15
..Mar. 18
. . Mar. 22
. . Mar. 25
. . Mar. 29
Metrotone News
243
Wednesday
..Feb.
15
244
Saturday . .
. . Feb.
18
245
Wednesday
..Feb.
22
246
Saturday . .
..Feb.
25
247
Wednesday
. Mar.
1
248
Saturday .
. Mar.
4
249
Wednesday
. Mar.
8
250
Saturday .
. Mar.
11
251
Wednesday
.Mar.
15
252
Saturday .
. Mar.
18
253
Wednesday
. Mar.
22
254
Saturday .
. Mar.
25
255
Wednesday
.Mar.
29
Pathe News
95260
95161
95262
95163
95264
95165
95266
95167
95268
95169
95270
95171
95272
Wed. (E.)
Sat. (O.).
Wed. (E.)
Sat. (O.).
Wed. (E.).
Sat. (O.)..
Wed. (E.).
Sat. (O.)..
Wed. (E.).
Sat. (O.)..
Wed. (E.).
Sat. (O.)..
Wed. (E.) .
.Feb. 15
.Feb. 18
. Feb. 22
.Feb. 25
Mar. 1
Mar. 4
Mar. 8
Mar. 11
Mar. 15
Mar. 18
Mar. 22
Mar. 25
Mar. 29
Entered as second-class matter January 4, 1921, at the post office at New York, New York, under the act of March 3, 1879.
Harrison's Reports
Yearly Subscription Rates : 1270 SIXTH AVENUE Published Weakly by
United States $15.00 R™„, Harrison's Reports. Inc.,
U. S. Insular Possessions. 16.50 ROOnuo" Publisher
Canada 16.50 New York, N. Y. P. S. HARRISON, Editor
Mexico, Cuba, Spain 1G.50 , , _, . .
Great Britain 15.75 MotIon Plcture Reviewing Service ■.-.mm,.* T„lv i i<iq
Australia, New Zealand, Devoted Chiefly to the Interests of the Exhibitors Established July 1, 1919
India, Europe, Asia .... 17.50
oz„ o rv,Tw Its Editorial Policy: No Problem To© Big for Its Editorial Circle 7-4622
oou . i <_upy Columns, if It is to Benefit the Exhibitor.
A REVIEWING SERVICE FREE FROM THE INFLUENCE OF FILM ADVERTISING
Vol. XXI SATURDAY, FEBRUARY 25, 1939 No. 8
HAVE THE PRODUCERS REALIZED AT
LAST WHAT A TOUGH COMPETITOR
IS RADIO?
For the week beginning Sunday, February 12, the follow-
ing motion picture stars were announced for radio appear-
ances :
Sunday (between the hours of 4:30 and 10 p. m.) :
Charles Laughton, Andrea Leeds, John Garfield, Joan
Crawford, Olivia de Havilland, Spencer Tracy, Don
Ameche, Dorothy Lamour, Sterling Halloway, Edgar Ber-
gen with his Charlie McCarthy, Charles Boyer, Virginia
Bruce, Irene Rich, Ronald Colman. Akim Tamiroff, Rob-
ert Benchley, Carole Lombard, and the Marx Brothers.
Monday : Bert Lytcll, Eddie Cantor, Lionel Barrymore,
Edward Arnold, and Maureen O'Sullivan.
Tuesday : Edward G. Robinson, Claire Trevor, Al Jol-
son, Martha Rave, Patsy Kelly, and Edna May Oliver.
Wednesday : Ken Murray, Charles Ruggles, Ned Sparks,
Frances Langford, and George Raft.
Thursday : Florence Eldridge, Fredric March, Frank
Morgan, Fanny Brice, Bing Crosby, Bob Burns, Nigel
Bruce, and Gene Autrey.
Friday : Jack Haley, Gracie Allen, and George Burns.
Saturday : Joe E. Brown.
Between noon time and ten o'clock Sunday night, one
hundred and fifty-six features are given by the different
important radio stations.
Beginning one o'clock, Sunday, the following important
radio features were given without a conflict of time : King
Carol of Rumania broadcasting from Bucharest, followed
by a symphony concert from that city ; symphony orches-
tra, with Grace Moore, soprano ; Secretary of Agriculture
Wallace, and Jan Masaryk, former Czech Minister to Eng-
land ; Raymond Massey, in a scene from '"Abe Lincoln in
Illinois," now playing to capacity houses in New York ;
Memorial to Pope Pius XI ; Philharmonic Symphony, with
Walter Gieseking, at the piano ; Charles Laughton reciting
from London Lincoln's Gettysburg Address ; "If This Be
Crime," a play, with Andrea Leeds ; "Last Flight to Bing-
hamton," a play with Joan Crawford ; Secretary of State
Hull speaking on Foreign Relations ; Screen Guild, with
Olivia de Havilland and Spencer Tracy speaking; "This Is
New York," a Variety show with Raymond Massey read-
ing "John Brown's Body" ; Foreign Policy, by Senator
Gerald Nye.
There used to be a time when Sunday was the biggest
day of the week for picture theatres ; today, it has become
as bad as old Monday. Why not? With so many special
features given every Sunday, and with so many picture
stars appearing during the busiest theatre hours, how could
the motion picture business avoid declining?
Another evening that has been ruined for the picture
theatres is Thursday, because of the Kate Smith, the Major
Bowes, and the Rudy Vallee programs, in addition to the
many picture stars that appear on the different programs.
The following stars participated in radio programs Thurs-
day, February 16, beginning 7 :30 p. m. :
Joe Penner, Rosalind Russell. Robert Montgomery, Rob-
ert Young, Fanny Brice. Frank Morgan, Florence Eld-
ridge, Fredric March, Gene Autrey, Bing Crosby, Bob
Burns, and Nigel Bruce.
On the same evening, Walter Wanger spoke on the
Town Hall program for about fifteen minutes.
Why should any picture-goer want to go to a picture
show on Thursday evening, paying his good money for it,
when he can stay home and, in its comforts, enjoy an eve-
ning with so much program variety, free of cost, particu-
larly if the weather should happen to be slightly bad?
Evidently the producers have begun to see light, for
Darryl Zanuck, of Twentieth Century-Fox, has announced,
as all of you know by this time, that he has withdrawn
Tyrone Power from radio work. This was followed by an
announcement from MGM that it has decided to withdraw
its stars from such work. Warner Bros., too, have been re-
ported as contemplating seriously of following suit.
That leaves only RKO's "Gateway to Hollywood," con-
ducted by Jesse L. Lasky. But there is no doubt that this
company, too, will cease encouraging its competitor.
But even if all producers should either abandon broad-
casting or pull their stars out of broadcasts, they will not
have done a complete job until they give up putting into
pictures radio stars ; otherwise, they build up the business
of their competitors. Can they name one other business
where those engaged in it help their competitors as much as
the motion picture producers help the radio people?
Harrison's Reports suggests to the Allied negotiating
committee to take the radio-competition matter up with the
distributor negotiating committee next time the two com-
mittees meet, with a view to determining a definite policy
toward radio.
HAVE THE HOLLYWOOD BRAINS
GONE DRY?
The producers seem to have gone in for remaking pictures
on a grand scale for the coming season. So far they have
announced the titles of at least twenty-five such pictures,
and before their plans are formulated finally they may
decide upon many more.
Few remade pictures have so far proved successful at the
box office. The reason for it is the fact that often they
did not have as big names as the original versions, the
stories were familiar to the public and in some cases out-
moded, and in most cases the production values were not as
good as those of the original versions.
"Over the Hill to the Poor House," for example, which
cost less than seventy thousand dollars, took in more than
five million dollars. Did the remade version, which was
released by Fox November 29, 1931, and which cost close
to a million dollars, make much money for you?
"The Merry Widow" is just another example. The orig-
inal version made money for everybody, whereas the re-
made version, which cost many times more, "flopped," com-
paratively speaking.
Many more such pictures could be cited. "Zaza" is one.
With a view to acquainting you with the "remakes" that
have been announced for this year, I am giving here an
analysis of them :
Columbia
This company has announced that it is planning to pro-
duce "Front Page." The original picture was released by
United Artists February 15, 1931. It is a newspaper yarn
and made a great hit at that time.
Metro-Gold wyn-Mayer
This company has announced the following remakes :
"He Who Gets Slapped." This picture was produced by
the same company and released November 2, 1924, with
the late Lon Chancy, Norma Shearer, and the late John
Gilbert in the leading parts. It is a tragedy, and deals with
a brilliant scientist, who finds out that the woman he loved
and the man he had trusted were both false. Mr. Chancy
had given a great performance.
"Within the Law." This picture was first produced in
1917, by Vitagraph, with Alice Joyce ; also in 1923, by First
(Continued on lost page)
30
HARRISON'S REPORTS
February 25, 1939
"Huckleberry Finn" with Mickey Rooney,
Walter Connolly and William Frawley
(MGM, February 10 ; time, 90 K' min.)
Considering Mickey Kooney's popularity and the fame of
the story, this is a strung box-office attraction. It is, how-
ever, just fairly good entertainment. When produced by
Paramount in 1931, the character of Tom Sawyer was an
important part of the story ; but that is not so in this pic-
ture— the screenplay here treats only with Huckleberry.
This is to be regretted, for the actions of these two boys
together were, in the last picture, the cause for hearty laugh-
ter. Although this version has its amusing moments, it lacks
the light touch of the other one. The closing scenes are ex-
citing, though unpleasant, because of the danger to a sym-
pathetic character, whose life Was endangered by an unruly
mob that wanted to lynch him : —
When Huckleberry (Mickey Rooney) learns that his
drunken father (Victor Kilian) was demanding $800 from
the widow Douglas (Elisabeth Risdon), who had taken
Huck into her home, he runs away. But his father catches
him and locks him in his hut. Huck escapes and arranges
things so as to make it appear as if he had been murdered.
While continuing on his way, Huck finds Jim (Rex In-
gram), the widow's slave, hiding; he had intended to run
away to his wife. Huck insists on taking him back to town,
but when he hears that the Sheriff's men were looking for
Jim, whom they suspected as Huck's murderer, he permits
Jim to travel with him. They become acquainted with two
gamblers (Walter Connolly and William Frawley). Huck
learns that they were out to dupe two young girls (Jo Ann
Sayers and Lynne Carver) of their legacy; he gives them
away. They, in the meantime, had told the authorities that
Jim was wanted for murder. While Huck was recuperat:ng
from a snake bite, Jim is sent back to stand trial. Huck, on
recovering, is horrified. He enlists the aid of Captain
Brandy (Minor Watson) to get him back to his home
town; they arrive just in time to save Jim from an infuri-
ated mob, intent on lynching him. Huck, whose father had
died, goes back to live with the widow; he promises, in
return for Jim's freedom, to go to school and to wear shoes.
The plot was taken from the Mark Twain story; Hugo
Butler wrote the screen play, Richard Thorpe directed it,
and Joseph L. Mankiewicz produced it.
Suitability, Class A.
"Twelve Crowded Hours" with Richard Dix
and Lucille Ball
(KKO, March ; time, 64 min.)
A fairly good program melodrama. The story is interest-
ing, moving at a pretty fast pace. Audiences who go in for
pictures of this type will find it to their liking, for it holds
one's attention well. Had a little more attention been paid
to it, however, it might have been a much letter entertain-
ment, for the story had the ingredients for a good news-
paper-gangster melodrama. For instance, the excitement in
some of the situations could have been intensified had the
director used musical accompaniment. The romantic inter-
est is of minor importance : —
While accepting a lift from two men he was acquainted
with, the editor of a newspaper is killed along with the two
men when a truck crashes into their taxicab, overturning it.
Richard Dix, a reporter on the paper, suspects foul play.
He knows that his fiancee's brother (Allan Lane), a pa-
roled convict, who had threatened the editor, would be
arrested. Dix rushes to Lane, forcing him to hide out in his
apartment. In the meantime, Dix follows up a hunch con-
cerning Cyrus W. Kendall, operator of a city-wide policy
game. Kendall, who had arranged the murder of the two
men in the taxicab, because they were trying to leave town
with money belonging to his policy business, follows the
third member of the party, who had left on the train with
the money. He kills him, and takes the bag containing
$80,000. Dix. who had followed Kendall and knew what had
happened, fakes a holdup and takes the bag from him ; he
checks it in a subway station. Kendall, who knew Dix, fol-
lows him to his apartment and threatens him with death
unless he would turn over the bag. In the meantime, the
police inspector (Donald MacBride) finds Lane and arrests
him. Eventually Dix is able to prove his theories about how
the murders had occurred and Kendall's part in them. Ken-
dall, in an effort to escape from the nolice, is killed in the
trap he had set for Dix and Miss Ball.
Garret Fort and Peter Ruric wrote the story, and John
Twist, the screenplay : Lew Landers directed it, and Robert
Sisk produced it. In the cast are Granville Bates, John Ar-
ledge, Bradley Page, Dorothy Lee, Addison Richards, and
others.
Not for children. Adult fare. Class B.
"Cafe Society" with Madeleine Carroll
and Fred MacMurray
(Paramount, March 3; time, 83 min.)
A very good comedy. The star names, the lavish produc-
tion, and the romantic interludes will suffice for the masses.
Sophisticated audiences will enjoy the satirical comedy re-
lating to the antics of members of so-called cafe society, a
sit which has received much publicity of late. The fact that
the story itself is the ordinary one of the poor but proud
hero sutKluing the rich but wilful heroine in no way de-
tracts from the entertaining quality of the picture, for the
dialogue is fresh, the situations amusing, and the perform-
ances excellent : —
Madeleine Carroll, spoiled grand-daughter of millionaire
Claude Gillingwater, makes a bet with society reporter
Allyn Joslyn, who claimed that she was no longer news,
that she could do something so startling that he would have
to write about her in his column. She induces Fred Mac-
Murray, a ship news reporter, who had fallen in love with
her at first sight, to marry her; he thinks she really loved
him. But immediately after the ceremony she telephones to
Joslyn, claiming to have won the bet; MacMurray is dis-
gust', d, and leaves her. When Gillingwater hears about the
marriage, he visits MacMurray, confessing his admiration
for him. His suggestion that nothing be done about annul-
ling the marriage for a time so as to avoid publicity meets
with. Mac Murray's approval. In order to keep up appear-
ances, Miss Carroll goes out with MacMurray, but they
quarrel constantly. Soon, however, she learns to love him.
Just when tilings begin to go smoothly she becomes jealous
of MacMurray's friendship with Shirley Ross, a cafe
singer. After one wild night, during which Miss Carroll
becomes tipsy, insults Miss Ross, fights with MacMurray,
and makes a general nuisance of herself, she realizes how
disgracefully she had acted. She apologizes to Miss Ross
and to MacMurray, with whom she becomes reconciled.
Virginia VanUpp wrote the story and screen play ; W. H.
( iriffith directed it, and Jeff Lazarus produced it. In the cast
arc Jesse Ralph, Paul Hurst, Don Alvarado, Mary Parker,
and others.
Suitability, Class A.
"Wife, Husband and Friend" with Warner
Baxter, Loretta Young and Binnie Barnes
( 20th Century-Fox, March 3 ; time, 79 min.)
A good adult comedy ; it has been given a lavish produc-
tion. The story, which is somewhat novel, should appeal
both to class audiences and to the masses. The dialogue is
sparkling, the plot development intelligent, and the acting
and direction outstanding. Starting out as a domestic com-
edy, it develops into a triangle comedy, with complications
that get the innocent hero into hearty-laughter provoking
compromising positions. One of the situations, although
pretty far-fetched, should prove quite amusing to an aver-
age audience ; it shows the hero, a victim of stage fright,
making a fool of himself during an operatic performance : —
Warner Baxter, warned by his millionaire father-in-law
(George Barbier) that his life would be made miserable if
he permitted his wife (Loretta Young) to take up a career
as a singer, decides to do something about it. He agrees to
her giving a recital, thinking that she would be cured after
that, for he felt that she had a bad voice. But her recital is
a success and she is fired with ambition, deciding to go on
with her career. Binnie Barnes, a famous singer, invites
Baxter to her apartment on the pretext that she wanted to
talk about his wife's voice : but she wanted to see him alone,
for she had been attracted to him. Baxter sings a song for
her; she is amazed at the quality of his voice and induces
him to study with her. She tells him it would be a good way
of curing his wife. Baxter agrees ; he does not tell his wife
anything about it. Instead, he goes off on a tour with Miss
Barnes, leading Miss Young to believe that it was a busi-
ness trip. In the meantime. Miss Young gets an engagement
at a theatre where she is booed off ; this cures her. But
when she learns what Baxter had done, she is furious and
leaves him. In the meantime, Baxter's business was in so
bad a shape that he agrees to appear at an operatic perform-
ance with Miss Barnes. On the opening night, he is so
dazed that, when he appears on the stage, his actions are
clumsy and he is laughed off. Miss Young, who had been in
the audience, rushes backstage to comfort him. Being hap-
pily reconciled, they decide to give up music as a career.
James M. Cain wrote the story, and Nurmally Johnson,
the screen play ; Gregory Ratoff directed it, and Mr. John-
son produced it. In the cast are Cesar Romero, J. Edward
Bromherg, Eugene Pallette, Helen Westley, and others.
Suitability, Class A.
February 25, 1939
HARRISON'S REPORTS
31
"Stagecoach" with Claire Trevor, John
Wayne and Thomas Mitchell
( United Artists, March 3 ; time, 95 min.)
A rousing Western melodrama. It blends exciting action
with comedy, human appeal, and romance, offering enter-
tainment with a strong mass appeal. The situation in which
the Indians give chase to the stagecoach, attempting to kill
all its occupants, is so thrilling that audiences will shout
with excitement. Incidentally, the horseback riding in these
scenes is something to marvel at. An equally thrilling situa-
tion comes towards the end, when the hero meets and shoots
it out with the three men who had killed his brother and
had framed a charge against him that had sent him to
prison. In between these melodramatic scenes, one is kept
amused by the actions of Thomas Mitchell, a doctor who
drank too much. The human interest is brought about as a
result of the sympathy one feels for Louise Piatt, one of the
passengers, who gives birth to her child while enroute to
meet her husband, an officer in the Army. The romance is
developed logically : — .
A stagecoach starts out with five passengers: Claire
Trevor, who had been forced out of town on charges of
immorality: Thomas Mitchell, who drank up all his money
and could not pay his rent; Louise Piatt, a southerner,
who was on her way to meet her husband ; John Carradine,
a gambler, who went along to protect Miss Piatt ; Donald
Meek, a liquor drummer ; and Berton Churchill, the town
banker, who was running away with the bank's receipts.
The driver (Andy Devine) was accompanied on the front
seat by the Sheriff (George Bancroft), who was out to find
John Wayne, who had escaped from prison. On the way,
they meet Wayne, who, knowing that his services would be
needed if they were to encounter Indians, offers no resistance.
The stagecoach is forced to stop when Miss Piatt becomes
ill. Mitchell sobers up sufficiently to take care of her during
the birth of her child. Churchill fumes at the delay. Two
days later they start out again, and this time they meet the
Indians. After a terrific battle with them, during which they
are rescued by the U. S. Army, they arrive at their destina-
tion. Bancroft, knowing that Wayne was innocent, permits
him to fight it out with his enemies. Wayne kills the three
men and is ready to go back to prison ; but Bancroft frees
him. Wayne, even though he knew of Miss Trevor's repu-
tation, asks her to marry him ; she accepts his proposal.
Ernest Haycox wrote the story, and Dudley Nichols, the
screen play; John Ford directed it, and Walter Wanger
produced it. In the cast are Tim Holt, Chris Martin, Fran-
cis Ford, Florence Lake, and others.
Suitability, Class A.
"Yes, My Darling Daughter" with Priscilla
Lane and Jeffrey Lynn
(First National, February 25 ; time. 85^ min.)
An amusing sophisticated comedy, suitable particularly
for the class trade. It will probably do good business, since
the players are popular, and the play, from which the plot
was adapted, is known fairly well. Although nothing im-
moral takes place, some parents may feel it is not the proper
kind of entertainment for adolescents, for the dialogue is
suggestive. It has been handled, however, intelligently and
in good taste. Another thing in its favor is the fact that the
players, by reason of fine performances, win the spectator's
sympathy ; at no time are their actions offensive : —
When Priscilla Lane, daughter of wealthy parents, learns
that Jeffrey Lynn, with whom she was in love, had accepted
a position in Belgium, which would keep him away from her
for two years, she suggests that they go away for a week-
end together in order to get better acquainted and to be sure
of their love for each other. Her idea was not to tell her
mother (Fay Bainter) about it, but when her mother con-
fronts her, Miss Lane admits the truth. Miss Bainter is out-
raged and orders her not to leave the house ; but Miss Lane
reprimands her, reminding her that she was a liberal per-
son, one who had always preached about the rights of indi-
viduals. Miss Bainter finally permits her to go. When Miss
Lane's father (Ian Hunter) finds out what had happened,
he is furious and sets out to bring her back. But his mother-
in-law (May Robson), who was somewhat of an individ-
ualist herself, prevents him. When Miss Lane returns and
is met by her angry father, she is shocked to think that he
had mistrusted her. She assures her mother that the week-
end had been a perfectly innocent one. When Lynn arrives
at the house and learns that every one had known about the
week-end, he is angered and leaves. Miss Lane's family
suggests that she go after him; and that is just what she
does. Lynn is amazed to find the family at the dock to bid
him goodbye. But when he goes to his stateroom he under-
stands, for Miss Lane was there waiting for him. She sug-
*See also pages 42 and 44.
gests that the Captain marry them, to which he readily
agrees.
The plot was adapted from the play by Mark Reed ;
Casey Robinson wrote the screen play, Wm. Keighley di-
rected it, and Benjamin Glazer produced it. In the cast are
Roland Young, Genevieve Tobin, and Edward Gargan.
Unsuitable for children and adolescents. Adult fare.
Class B.
"Fast and Loose" with Robert Montgomery
and Rosalind Russell
(MGM, February 17 ; time, 79 min.)
This is a follow-up to "Fast Company," with Robert
Montgomery and Rosalind Russell replacing Melvyn
Douglas and Florence Rice. It is just as good as the first
one, for it follows the formula used so successfully there —
that of combining murder-mystery melodrama with com-
edy. The story is mystifying enough to satisfy the most
ardent follower of that type of entertainment ; and, at the
same time, the comedy and romantic interludes give it
added value. The production is good, and the acting and
direction completely satisfying : —
Montgomery and his wife (Miss Russell), owners of a
rare book business, are overjoyed when, just as their fi-
nances had given out, they are engaged by an eccentric mil-
lionaire (Etienne Girardot) to buy for him a famous manu-
script, owned by Ralph Morgan. Together with Alan Dine-
hart, head of the company that had insured the manuscript,
they visit Morgan, whose secretary was a friend of Mont-
gomery's. Montgomery, who did amateur detective work on
the side for the insurance company, realizes that something
was wrong ; he discovers that Morgan's son, who owed
gambling debts to Sidney Blackmer, had pilfered the li-
brary of valuable books, which he had sold. Every one is
shocked when Morgan is murdered and the manuscript
stolen ; the manuscript is found later. Upon investigation,
Montgomery notices that the manuscript they had found
was a forgery. Later he learns that the original had been
stolen and sold to another person some time past without
Morgan's knowledge. After many exciting encounters with
Blackmer and his men, during which he and his wife are
constantly in danger, Montgomery uncovers the real crimi-
nal. He proves that Reginald Owen, Morgan's private
broker, had stolen the manuscript : when Morgan, on the
night of his murder, had discovered the deception, Owen
had killed him. Miss Russell tries to help out by shooting at
Owen when he tries to escape ; instead, she shoots Mont-
gomery. But Owen is captured ; Miss Russell comforts
Montgomery.
Harry Kurnitz wrote the original screen play ; Edwin L.
Marin directed it, and Frederick Stephani produced it. In
the cast are Jo Ann Savers, Joan Marsh, Tom Collins, and
others.
Unsuitable for children. Good for adults. Class B.
"You Can't Cheat an Honest Man" with
W. C. Fields and Edgar Bergen
( Universal, February 17; time, 79 min.)
This is the type of comedy that should go over well in
crowded theatres. Completely lacking in story values, the
picture, nevertheless, manages to entertain one, for W. C.
Fields and Edgar Bergen are both excellent. The story is
just an excuse for both of them to do their various acts ; one
or the other is on the screen at all times. Some of Fields'
gags are old and others new. One of the comical situations
is that in which he uses an elephant to help him take a
shower bath ; another, that in which he tells a story of his
exploits as a big-game hunter, during which he mentions
the word snake quite often. Each time he does so, his
hostess, who was allergic to the sound of that word, faints.
Bergen uses two dummies — Charlie McCarthy and Mor-
timer. He is, as usual, amusing, except that on occasion his
routines are too long.
In the development of the plot, Fields, owner of a travel-
ling circus, finds himself in financial difficulties. When his
daughter (Constance Moore), who had been away at col-
lege, learns about it, she decides to marry James Bush, a
wealthy nincomiioop, even though she loved Bergen, who
worked in the circus. But when Bush's snobbish parents
call her father a vulgarian and order him out of their home,
Miss Moore leaves, happy to be rid of Bush. She and Ber-
gen are united.
Charles Bogle wrote the story, and George Marion, Jr.,
Richard Mack, and Everett Freeman, the screen play ;
George Marshall directed it, and Lester Cowan produced it
In the cast are Mary Forbes, Thurston Hall, John Arledge,
and Princess Baba.
Suitability, Class A.
32
HARRISON'S REPORTS
February 25, 1939
National, with Norma Talmadge. The story deals with a
heroine who is railroaded into the penitentiary. When she
comes out she decides to get even with the man who had
framed her by striking at him through his son. She even-
tually falls in love with the son. A powerful subject, but
somewhat outmoded.
"Our Modern Daughters," released in 1929 under the
title "Our Modern Maidens," witli Joan Crawford and
Douglas Fairbanks, Jr.
"Penthouse." released in 1933, with Warner Baxter and
Myrna Loy. It is a strong melodrama, dealing with gang-
sters and a hero who defends them. Not worth remaking.
"Love Came Back to Me," released in 1931 as "New
Moon," with Grace Moore and Lawrence Tibbett. It is the
story of a Russian Princess who falls in love with a Cos-
sack hero, a great singer. It is not great enough for re-
making.
Paramount
"Beau Geste," produced in 1926, with Ronald Colman and
Alice Joyce. The story deals with a self-sacrificing Eng-
lishman who had left England and gone to Algiers and
joined the French Foreign Legion, drawing upon himself
the blame for a wrong committed by some one else in the
family. It made a great hit at that time.
"The Cat and the Canary," produced by Universal in
1927 as a silent picture. It is a haunted-house melodrama.
Since it was produced more than twelve years ago, it might
go over if Paramount should produce as good a picture as
Universal produced at that time.
"Casey Jones," released by Ravart in 1928.
RKO
"A Bill of Divorcement," produced by this company in
1932. This is the picture that ushered Katharine Hepburn
to the screen. It is a powerful subject, but since it deals
with insanity it should not be remade. RKO announced
Anne Shirley for the part of Miss Hepburn. If so, it is a
poor selection, because Miss Shirley, a fine actress in unso-
phisticated parts, may be lost in so powerfully dramatic a
part.
"The Hunchback of Notre Dame," produced by Univer-
sal in 1923, with the late Lon Chancy in the leading part. It
is a powerful story, and since it was produced sixteen years
ago it might be worth repeating. The outcome, however,
will depend on whether RKO makes it as big as Universal
made it.
Twentieth Century-Fox
"The Gorilla." This picture was produced by First Na-
tional first in 1927, at which time it proved successful, and
then in 1930, at which time it proved a box-office "flop." It
is a sort of creepy melodrama, having as a central figure a
gorilla, who endangers peoples' lives.
Warner Bros.
This company has announced the greatest number of re-
makes : nine, so far.
"Disraeli." This picture has already been produced twice,
once in 1921, by United Artists, and once by Warner Bros.,
in 1929 ; both times with George Arliss in the leading part.
This time Warner Bros, plans to put Claude Rains in the
leading part. In the opinion of Harrison's Reports, the
subject will not bear a third repetition, regardless of the
considerations that may have prompted Warner Bros, to
remake it.
"The Changeling," produced bv this companv (First
National ) in 1929, with Dorothy Mackaill, under the title
"His Captive Woman." It was first produced as a silent
picture, and then rearranged with a few sound sequences.
The story does not, in this paper's opinion, bear repetition.
"The Drug King," released by this comnanv December 3,
1932, under the title "The Match King." The story dealt
with Kreuger, the Swedish match Baron. "Unpleasant and
demoralizing," is what the review in Harrison's Reports
said. Unless altered radically, the story will not bear repeti-
tion.
"One Way Passage," produced in 1932 with Kav Francis
and William Powell. Warner Bros, has announced that, if
it will produce it, it will give the Kay Francis role to Mar-
lene Dietrich. The review in Harrison's Reports said :
"A fairly interesting though depressing drama." Both hero
and heroine were presented as believing that they should
soon die. It is not a subject that bears repetition.
"The Millionaire." produced in 1931 with George Arliss.
This picture was first produced in 1922, by United Artists
with the same star. The United Artists version turned out
excellent, although it did not make any money for the ex-
hibitors. The Warner Bros, version turned out a fair en-
tertainment, but did not set anybody's box office afire. The
subject hardly bears a third repetition.
"Outward Bound," produced in 1930, with Leslie How-
ard. The picture turned out excellent, but because it dealt
with dead people, acting in after life as if they were alive,
it did not make any money. It is a subject that should be
left alone.
"The Roaring Crowd," produced in 1932, with James
Cagney, and released April 16, under the title, "The Crowd
Roars." It is an automobile racing subject, with a horrible
scene ; it shows one of the racing cars catching fire and
burning the driver to death. It is so gruesome a story that
it should not be touched, even though it is extremely thrill-
ing. There is too much resentment among the picture-going
public against nerve-shattering pictures; parents are com-
plaining because of the effect on the nervous system of their
children.
"The Sea Hawk," produced in 1924 with Milton Sills
and Wallace Beery. The picture turned out to be so fasci-
nating that it might bear repetition, particularly since it
was so long ago that it was first produced.
"Three Cheers for the Irish," produced in 1932 by Para-
mount, with George Cohan, and Claudette Colbert, and re-
leased as "The Phantom President." The Paramount pic-
ture flopped "terribly." The story is not extraordinary, and
unless the Warners plan to alter it radically it will not
bear repetition.
Your fight for the elimination of block-booking and
blind-selling should be strengthened considerably if you
should call the attention of your Congressmen to these re-
makes ; you should be able to convince them that you have
no power to prevent the production of pictures that may
prove either demoralizing to children, or destructive to your
box office.
THE CONSEQUENCES OF THE REPEAL
OF THE NORTH DAKOTA THEATRE
DIVORCEMENT LAW
Have you ever watched what happens when some one
throws a rock into a nest of wasps?
That is exactly what is going to happen as a result of the
"peculiar circumstances" under which the North Dakota
Theatre Divorcement Law was repealed; similar bills will
be introduced in the legislatures of so many states that those
responsible for the North Dakota repeal measure will have
time for nothing else but to work for their repeal.
There is no question that the repeal of the North. Dakota
Law has incensed the exhibitors, if we are to judge by the
statements of some of their leaders. According to Motion
Picture Daily, Mr. Abram F. Myers, speaking for himself,
stated the following:
"That and other activities behind our backs, while we
have been engaged in the trade practice negotiations, make
us wonder whether we had better not cage the dove of
peace and renew the fight. We are not well enough manned
to cover both fronts and it will have to be one or the other."
And Col. H. A. Cole, as quoted in the Film Daily, 3aid
the following :
"f can speak for myself only and not for the committee.
Only the committee of Allied's board of directors has the
right or power to withdraw from such negotiations. How-
ever, as an individual and as president of Allied, I should
like to state that I deeply resent, not an open attempt of
distributor interests to repeal the North Dakota statute, but
the political trickery used to bring that about at this critical
time. Such a maneuver can leave the independent exhibitors
nothing but a feeling of complete distrust and a fear that
similar tactics may prevail in all their future relations."
In commenting upon this incident in last week's issue, I
said that the last word in this drama has not yet been
spoken. It seems as if I was fully justified in that prediction
if we are to judge by what the February 15 issue of the
Film Daily, in a dispatch from Bismark, N. D., said partly :
"Federal investigation of circumstances involving a vote to
repeal the North Dakota theatre divorcement act was in-
dicated when Speaker Oscar Hagen of the House yesterday
said he was withholding his signature on House Bill 245
after being informed the Department of Justice agents were
on the sround," and by "It looks very funny to us and we
don't like it at all," as the February 16 issue of Motion
Picture Daily quotes a Department of Justice representa-
tive as having said.
If the Department of Justice should undertake to investi-
gate the different moves that were made in the repeal of
that law, there may be interesting developments.
Entered as second-class matter January 4, 1921, at the post offloe at New York, New York, under the act of March 3, 1879.
'S
Yearly Subscription Rates: 1270 SIXTH AVENUE Published Weekly by
United States $15.00 D(Wlm 1a19 Harrison's Reports, Inc.,
U. S. Insular Possessions. 16.50 ROOm Publisher
Canada 16.50 New York, N. Y. P. S. HARRISON, Editor
Mexico, Cuba, Spain 16.50 . „ .. _. . _ _ ,
Great Britain 15 75 A Motlon Picture Reviewing Service
Australia, New Zealand, Devoted Chiefly to the Interests of the Exhibitors Established July 1, 1819
India, Europe, Asia .... 17.50
,r„ r„„v Its Editorial Policy: No Problem Too Big for Its Editorial Circle 7-4622
aoc * ^"vy Columns, if It is to Benefit the Exhibitor.
A REVIEWING SERVICE FREE FROM THE INFLUENCE OF FILM ADVERTISING
Vol. XXI SATURDAY, MARCH 4, 1939 No. 9
FIGHTING A LOSING BATTLE
From reports published in the trade papers, it seems cer-
tain that an application will be made to the United States
Supreme Court for a re-hearing in the case of United States
Z'S. Interstate Circuit et al, in which case Judge William H.
Atwell, of the Federal District Court at Dallas, Texas, was
sustained in holding that a monopoly existed in the distri-
bution of films in Texas.
In the opinion of Harrison's Reports, such an applica-
tion will be but another vain effort on the part of the dis-
tributors to accomplish, through a weak claim of right,
what could be accomplished through cooperation.
As far back as June 4, 1938, this paper warned that, if the
distributors should appeal to the United States Supreme
Court from the findings of Judge Atwell, "all they could
possibly accomplish would be to add the U. S. Supreme
Court's approval to the damaging findings and decree of
the Dallas District Court." Had the producers heeded at
that time this paper's advice, they would have dropped the
appeal and would have tried to work out with the exhibitor
leaders a fair trade practices code. But they failed to heed
it, and now they find themselves faced with a serious
problem.
Again, instead of facing the actualities, and giving a chance
to the trade practices conference to find a fair way of pro-
tecting every one's interests, they have decided to resort to
more court proceedings. As evidenced by the majority opin-
ion, the U. S. Supreme Court gave the questions involved
in the Interstate case deep study. The business of distribut-
ing and exhibiting pictures, particularly as it relates to the
State of Texas, was gone over with a toothcomb. In the
face of that opinion, it is manifest that the distributors will
waste their time on a rehearing application, for Mr. Justice
Stone, who delivered the majority opinion, stated the fol-
lowing :
"It taxes credulity to believe that the several distributors
would, in the circumstances, have accepted and put into
operation with substantial unanimity such far-reaching
changes in their business methods without some under-
standing that all were to join, and we reject as beyond the
range of probability that it was the result of mere chance.
* * *
"While the District Court's finding of an agreement of
the distributors among themselves is supported by the evi-
dence, we think that in the circumstances of this case such
agreement for the imposition of the restrictions upon subse-
quent-run exhibitors was not a prerequisite to an unlawful
conspiracy. It was enough that, knowing that concerted
action was contemplated and invited, the distributors gave
their adherence to the scheme and participated in it. Each
distributor was advised that the others were asked to par-
ticipate; each knew that cooperation was essential to suc-
cessful operation of the plan. They knew that the plan, if
carried out, would result in a restraint of commerce, which
we will presently point out, was unreasonable within the
meaning of the Sherman Act, and knowing it, all partici-
pated in the plan. The evidence is persuasive that each
distributor early became aware that the others had joined.
With that knowledge they renewed the arrangement and
carried it into effect for the two successive years.
"It is elementary that an unlawful conspiracy may be
and often is formed without simultaneous action or agree-
ment on the part of the conspirators. * * * Acceptance by
competitors, without previous agreement, of an invitation to
participate in a plan, the necessary consequence of which,
if carried out, is restraint of interstate commerce, is suffi-
cient to establish an unlawful conspiracy under the Sher-
man Act. * * *
"A contract between a copyright owner and one who has
no copyright, restraining the competitive distribution of
the copyrighted articles in the open market in order to
protect the latter from the competition, can no more be
valid than a like agreement between two copyright owners
or patentees. * * * In either case if the contract is effective,
as it was here, competition is suppressed and the possibility
of its resumption precluded by force of the contract. An
agreement illegal because it suppresses competition is not
any less so because the competitive article is copyrighted.
The fact that the restraint is made easier or more effective
by making the copyright subservient to the contract does
not relieve it of illegality."
The rules set down by the Supreme Court are broad
enough to apply to situations outside of Texas and to as-
pects of distribution other than the fixing of minimum
admission prices for subsequent-run houses, and the pro-
hibition against double features. It may, in fact, extend to
every phase of protection and clearance.
That such a ruling would some day have been made by
the U. S. Supreme Court has been predicted by Harrison's
Reports a long time ago. It now makes to the distributors
the suggestion that they sit down with the exhibitors, as
business men, to work out for the entire industry a fair
and equitable program. They should put an end to their
attempts to hold on to the unfair control of the industry
they have been having for many years and should endeavor
to gain the good will of their customers. Unless they do so,
further restrictions of their control powers are inevitable.
They are continuing to fight a battle that is already lost
to them.
MORE ABOUT NORTH DAKOTA
REPEAL
In its February 18 issue, Harrison's Reports quoted the
leaders of the North Dakota Legislature as having stated
that the circumstances under which the theatre divorcement
law had been passed seemed "peculiar," and suggested that
"the end of the story has not yet been told," — that "the last
word on the North Dakota divorcement law may not have
been spoken yet."
Since that time there have been many repercussions re-
sulting from the "peculiar" circumstances under which this
law had been repealed.
Governor Moses, of North Dakota, has signed the repeal
measure, thus taking off the statute books of North Dakota
the divorcement law, making it almost a certainty that the
United States Supreme Court would be compelled to dis-
miss the pending appeal from the adjudication of the United
States Circuit Court of Appeals that the law was constitu-
tional.
One of the more significant repercussions is the investi-
gation by the Department of Justice of the circumstances
surrounding the repeal. According to Boxoffice, U. S. Gov-
ernment agents were in Bismark investigating the facts that
led to the repeal of that law.
The February 21 issue of Film Daily, too, states the same
thing ; it says :
(Continued on last page)
34
HARRISON'S REPORTS
March 4, 1939
"Secret Service of the Air" with Ronald
Reagan, John Litel and James Stephenson
(Warner Bros., March 4; time, 61 min>)
A pretty good program action melodrama. Although the
plot is routine and slightly far-fetched, the picture should
please action fans, for it moves at a fast pace, holding one
in suspense until the end. One situation, although in keeping
with the story, may sicken some spectators; it shows an
aviator, who was smuggling a group of men across the
border in his plane, opening a trap door and dumping all
the men out, for he had discovered that one of the passen-
gers was a secret service agent. The spectator feels admira-
tion for the hero, because he shows courage and daring in
the face of danger. The romance is minimized : —
John Litel, head of the U. S. Secret Service, enlists the
aid of Ronald Reagan, a commercial aviator, in rounding
up a gang, who had been smuggling non-citizens into the
United States, using planes to get their customers across
the border. As part of the plan, Reagan is compelled to go
to prison; his cell-mate is one of the gang. Through him,
Reagan obtains important information. After an attempted
jail break by Reagan and his cell-mate, they are caught
and brought back; the cell-mate is led to believe that
Reagan would be sent to Alcatraz. Instead, he is freed. He
becomes acquainted with one of the men in the smuggling
ring, and is able to convince him that he would be a good
man to have. His work is in danger of being spoiled when
his former cell-mate, who had escaped, arrives and accuses
him of being a fraud. Reagan is finally able to get the gang
leader across the border, placing him in the hands of the
police. The smuggling ring is thus broken up.
Raymond Schrock wrote the original screen play, Noel
Smith directed it, and Bryan Foy produced it. In the cast
are Edide Foy, Jr., Ila Rhodes, Rosella Towne, Morgan
Conway, Anthony Averill, and others.
Unsuitable for children. Class B.
"Let Us Live" with Henry Fonda, Maureen
O'Sullivan and Ralph Bellamy
(Columbia, February 28; time, 68 mitt.)
A strong but somewhat grim melodrama. Even though it
holds one in suspense, it is not particularly pleasant enter-
tainment, for the story is harrowing. Another thing against
it is the fact that law officials are shown as being heartless
men, interested in securing convictions more than in getting
to the bottom of a case ; also the fact that police methods in
crime detection work are disparaged. The suffering of the
hero and the heroine touches one, but at the same time it
is painful to watch; not until the very end, just before the
hero was to go to the electric chair, is the heroine able to
obtain the evidence to prove the hero's innocence. The pic-
ture ends on a bitter note, showing the hero's spirit broken
by his experience. The direction and acting are good: —
Fonda, a taxicab driver, accompanies his sweetheart
(Maureen O'Sullivan) to church ; he waits outside for her.
While he is waiting, three crooks hold up a motion picture
house around the corner, killing the guard. Having learned
that the crooks got away in a cab, the police round up all
the cab drivers who operated such a cab ; Fonda is one of
them. They arrest also his roommate (Alan Baxter). The
theatre employees identify Fonda and Baxter as two of the
crooks and, despite their pleas of innocence, they are held
for trial. Miss O'Sullivan's story is disbelieved. The two
men are tried, convicted, and sentenced to death in the
electric chair. Miss O'Sullivan works frantically to save
them. With some new evidence she had found, she finally
convinces Ralph Bellamy, a police inspector, of the two
men's innocence. Bellamy, in order to help her, resigns his
position. Fonda, after having borne up bravely, goes to
pieces. Not until the day of the electrocution are Miss
O'Sullivan and Bellamy able to locate the crooks. With the
help of several policemen, they round them up and find the
loot. The theatre employees, realizing their mistake, na-
turally identify the real crooks. Thus Fonda and Baxter
are released. Fonda leaves the prison a broken man. The
only one toward whom he acts friendly is Bellamy.
The plot was adapted from a story by Joseph F. Dinneen.
Anthony Veiller and Allen Rivkin wrote the screen play,
John Brahm directed it, and William Perlberg produced it.
In the cast are Stanley Ridges, Henry Kolker, Ray Walker,
George Douglas, Peter Lynn, Martin Spellman, and others.
Not suitable for children. Adult fare. Class B.
"Everybody's Baby" with Jed Prouty,
Shirley Deane and Russell Gleason
(20th Century-Fox, March 24; time, 61 min.)
This latest picture in the "Jones Family" series is good
entertainment. The action focuses less on the family and
more on the problems of the married daughter (Shirley
Deane) and of her husband (Russell Gleason) after the
birth of their baby. These problems are treated entirely
from a comedy angle. Most of the laughter is provoked by
the methods Miss Deane, who had been taken in by a fake
child expert (Reginald Denny), insists on employing in the
care of the child. One of the most comical situations is that
in which Miss Deane's family, eager to see the child, are
compelled, before entering the child's room, to put on steri-
lized gowns and gauze masks. One feels sympathy for Glea-
son, who is not permitted to hold his own baby, because the
nurse, who had been sent to them by Denny, claimed it
would spoil the child. Another comical situation is that in
which Gleason, who had been drinking to drown his
troubles, arrives home slightly drunk, thereby having
enough courage to tell the nurse what he thought of her.
This so angers his wife that she orders him to leave their
home. The closing scenes, although slightly far-fetched, are
comical ; in them Denny is exposed in a manner to embar-
rass him. Gleason and Miss Deane are reconciled ; and the
members of the family are happy that at last they could see
and play with the baby without any interference.
Hilda Stone and Betty Reinhardt wrote the story, and
Karen DeWoIf, Robert Chapin, Frances Hyland and Albert
Ray, the screen play ; Malcolm St. Clair directed it, and
John Stone produced it. In the cast are Spring Byington,
Ken Howell, George Ernest, Hattie McDaniel, Florence
Roberts, and others.
Suitability, Class A.
"Let Freedom Ring" with Nelson Eddy,
Virginia Bruce and Edward Arnold
(MGM, February 24 ; time, 86 min.)
Good mass entertainment. It is also a strong box-office
attraction, for, in spite of the fact that the story is just a
glorified Western, the players have drawing power. More-
over, it strikes a patriotic note, which is certain to appeal to
Americans everywhere. Added to all this, is the further
attraction of Nelson Eddy's singing, which has been inter-
polated so well that it fits in with the story and does not
interfere with the action. Western fans should enjoy the
horseback riding, fist fights, and the colorful background of
the old pioneering days. The closing scenes, in addition to
being exciting, touch one's emotions. Virginia Bruce and
Nelson Eddy handle the romance effectively. And Charles
Butterworth and Victor McLaglen provide hearty laughter.
Lionel Barrymore, western ranch owner, looked forward
to the return of his son (Eddy) from Harvard law school ;
he felt that he would be able to stop Edward Arnold, a
ruthless financier from the east, who had been burning
down homes and otherwise forcing ranchers to give up their
property to make way for the new railroad. Virginia Bruce,
cafe owner, who loved Eddy, was impatient for his return.
But Eddy shocks every one when, upon his return, he sides
with Arnold. No one realizes that he was purposely acting
that way in order to get into Arnold's good graces, and thus
obtain all the information against him he needed. He se-
cretly publishes a newspaper, copies of which he distributes
to the foreign railroad workers whom Arnold had brought
out west ; but McLaglen, the road gang manager, threatens
to kill any one who would read a copy. In the meantime,
Miss Bruce, heartsick at Eddy's actions, promises to marry
Arnold, even though she despised him. Eddy's activities are
finally disclosed ; Arnold insists that the Sheriff arrest him.
But Eddy appeals to the laborers to become true Americans
and not permit themselves to be bullied by a tyrant. At first,
his words are ineffective, for the men feared Arnold ; but
Miss Bruce arouses them when she starts singing "Amer-
ica," and asks them to join in with her. McLaglen and all
his men go over to Eddy's side, and force Arnold to leave
town. Eddy and Miss Bruce are joyfully united.
Ben Hecht wrote the story and screen play, Jack Conway
directed it, and Harry Rapf produced it. In the cast are
Guy Kibbee, H. B. Warner, Raymond Walburn, Dick
Rich, and others.
Suitability, Class A.
March 4, 1939
HARRISON'S REPORTS
35
"The Saint Strikes Back" with George
Sanders and Wendy Barrie
(RKO, March 10; time, 64 min.)
This is a good follow up to '"The Saint in New York."
It is an engrossing program gangster melodrama, with a
mystifying plot, and plentiful exciting action. George San-
ders, who replaced Louis Hayward as "The Saint," is con-
vincing in the part of the self-appointed detective who,
single-handed, outwits a gang of crooks and uncovers the
identity of the gang leader. The methods Sanders employs
are at times the cause for laughter and, at other times, for
excitement. There is just a hint of romance between San-
ders and the girl he tries to protect, but in the end they part.
Wendy Barrie, who had entered a life of petty crime in
order to find out, if possible, who had framed her father, a
former police official, on a robbery charge, the disgrace of
which had caused his death, is annoyed when Sanders in-
terferes with her plans. She refuses to believe that he
wanted to help her prove her father's innocence by finding
out who the leader of the gang was, and thus break up a
gang of criminals who had been operating with a free hand.
But in time she is convinced of the fact, and so she joins
forces with him. Their investigations lead them to a
wealthy philanthropist, who kills himself when he realizes
that he had been trapped. In the meantime, Jonathan Hale,
a New York police inspector, who believed Sanders him-
self to be guilty of crimes and, therefore, wanted to arrest
him, is constantly outwitted by Sanders. Eventually San-
ders proves Miss Barrie's father's innocence, and discloses
that the gang leader was none other than Neil Hamilton,
who was supposed to be Miss Barrie's intimate friend ; he
proves also that Hamilton had been assisted by Jerome
Cowan, a police official. With the case finished, Sanders
bids Miss Barrie goodbye, even though he was drawn to
her, for he was the type of man who wanted to be free to
continue his work without any hindrance.
Leslie Charteris wrote the story, and John Twist, the
screen play ; John Farrow directed it, and Robert Sisk
produced it. In the cast are Barry Fitzgerald, Robert Elli-
ott, Russell Hopton, Edward Gargan, and others.
The activities of the crooks make it unsuitable for chil-
dren. Class B.
"Forged Passport" with Paul Kelly,
June Lang and Lyle Talbot
{Republic, March 24; time, 61 min.)
Just a moderately entertaining program melodrama. The
plot is developed without much excitement, most of the
thrills being concentrated in the closing scenes. Some audi-
ences may resent the comments made by a few characters
with reference to the lack of intelligence on the part of
U. S. Immigration officials at the Mexican border, for, with
the exception of the hero, the others are presented as being
somewhat stupid. Billy Gilbert gives his usual good per-
formance, provoking laughter by his actions. A few musical
numbers are presented in an entertaining way : —
Paul Kelly, a member of the U. S. Immigration Patrol
at the Mexican border, who is known for his hot temper, is
warned by the commanding officer to control his impulse to
fight. Kelly uncovers a smuggling plot, in which Lyle
Talbot, cafe owner, had had a hand, and Talbot warns him
to keep out of his affairs. Kelly receives a telephone call,
presumably from Billy Gilbert, a cafe owner to whom he
was indebted, threatening to expose him unless he would
bring the money over to his cafe immediately. Kelly sends
over a new recruit (Maurice Murphy) to reason with Gil-
bert. But it suddenly dawns upon him that it might be a
trap. And he was right, but by the time he arrives at the
cafe Murphy is dead, shot by some one who had been wait-
ing for Kelly. After admitting his part in the affair, Kelly
resigns. He opens a gasoline station in partnership with
Gilbert, whose cafe had been closed. By pretending to
smuggle men across the border, Kelly comes to Talbot's
attention ; they make a deal to work as partners. In this way
Kelly is able to uncover the activities of the gang ; he him-
self is shocked to learn that the leader was a respected man
with whom he had been friendly. His work finished, Kelly
marries June Lang, a cafe entertainer.
James Webb and Lee Loeb wrote the story, and Franklin
Coen and Lee Loeb, the screen play ; John Auer directed
and produced it. In the cast are Cliff Nazarro, Christian
Rub, John Hamilton, Dewey Robinson, and others.
The murder and smuggling make it unsuitable for chil-
dren. Class B.
"Prison Without Bars" with Edna Best
(London Films-United Artists, March IS; time, 77 min.)
A pretty gripping prison melodrama. But, before it will
do business in the United States, it will have to be exploited,
for the players are unknown here. Although the plot is not
novel, the performances are so good that, even though the
action at times drags, one is interested in the various char-
acters, following their actions intently. The spectator sym-
pathizes particularly with the heroine, who had been im-
prisoned on a framed charge ; her softening under the influ-
ence of the new matron, who treated her with kindness,
touches one. The love interest, although logical, is in some
respects unappealing, for it brings unhappiness to a char-
acter for whom one feels the deepest admiration. There is
very little comic relief. The action takes place in a prison
for women located at the outskirts of Paris : —
Tortured by the cruel methods employed by Martita
Hunt, head of a prison for women, the inmates are rebel-
lious. Corinne Luchaire, a young girl of charm, who had
been imprisoned on a framed charge, tries to escape on a
few occasions but she is caught and brought back each time.
The government officials, having heard of Miss Hunt's un-
pleasant methods, send Edna Best to replace her as head of
the institution. Miss Hunt stays on as an assistant. Miss
Best is happy to be there, for, unknown to any one, the
prison doctor (Barry K. Barnes) was her sweetheart.
Much to Miss Hunt's disgust, Miss Best changes things
considerably ; she takes Miss Luchaire under her wing and
gradually softens her. Having learned that Miss Luchaire
liked nursing, she assigns her to work with Barnes. Barnes,
disappointed because Miss Best would not marry him im-
mediately, turns his affections to Miss Luchaire ; they fall
madly in love with each other. One of the inmates finds it
out and proceeds to blackmail Miss Luchaire. But the truth
finally comes out. Miss Luchaire is heartbroken when she
learns that Miss Best loved Barnes. But Miss Best, who
had won a parole for the girl, insists that she leave and join
Barnes, who was going to India. Miss Best, with tears in
her eyes, watches the girl go, feeling that she herself was
more of a prisoner than the inmates.
Arthur Wimperis wrote the scenario ; Brian D. Hurst
directed it, and Alexander Korda produced it, with Irving
Asher, associate producer.
Not suitable for children. Adult fare. Class B.
"Code of the Streets" with Harry Carey
and Frankie Thomas
(Universal, May 5 ; time, 69 min.)
A good program melodrama. In spite of the fact that the
story is somewhat far-fetched, it holds one's attention well,
for the action is fast and at times pretty exciting. "The
Little Tough Guys," headed this time by James McCallion,
give good performances, provoking laughter by their tough-
ness and by the tricks they play. In this picture, how-
ever, they concentrate more on drama than on comedy. One
feels sympathy for McCallion, whose brother had been
framed on a murder charge. Harry Carey, too, wins one's
sympathy by his efforts to help the accused man. There is
no love interest : —
Paul Fix, a victim of his slum environment, who had
wandered into a life of petty crime, is arrested for murder
on a charge framed by the real murderer. Carey, the detec-
tive who had arrested Fix, feels certain that he was inno-
cent ; but Fix is tried, convicted, and sentenced to the death
penalty. When Carey tells the District Attorney how he
felt about the case, he is demoted to the rank of an ordinary
policeman. His young son (Frankie Thomas), desirous of
helping his father, goes down to the slum district where Fix
had lived, and becomes acquainted with his young brother
(McCallion) and his gang. They are suspicious of Thomas
until he tells them that he wanted to help Fix. But when
they learn he was Carey's son, they beat him up and throw
him out of the gang. When they find out about Carey's de-
motion they regret their act and take Thomas back. The
boys discover the identity of the real criminal and, by threats
of torture, force him to confess. Carey arrives in time to
make the arrest. He is reinstated, and Fix is released.
Thomas is considered by the gang a hero.
Arthur T. Horman wrote the original screen play ; Har-
old Young directed it. and Hurt Kellv produced it. In the
cast are Leon Ames, Marc Lawrance, I£l Hrendel. Juanita
Qtllgley, and others.
Suitability, Class A.
36
HARRISON'S REPORTS
March 4, 1939
"Federal Bureau investigators were on the ground prob-
ing the circumstances under which the act was adopted. The
interest of the Federal government is tied up with its anti-
trust suit against the major distributors in New York, plus
the fact that Nortli Dakota was the first state to adopt an
act which prohibited display of pictures by film owners or
distributors within its borders."
The same issue of this paper, in informing the industry of
the interest the Department of Justice has taken in the case
to the extent of calling up on the telephone Governor Moses
to make the position of the Department known, cpjotes a
member of the staff of the Attorney General as follows :
"We, at the Department, do not feel the Federal Govern-
ment has a right to do that [to ask the Governor to delay
his signature to give the U. S. Supreme Court a chance to
act]. We merely stated the fact that the Supreme Court
was sitting in the case and that a repeal at this time would
be a tacit break for us, but did not ask him to act one way
or the other."
Explanations intended by Governor Moses to serve as a
justification for his signing the repeal bill are coming in:
Film Daily of February 23, states the following :
"Reliable sources indicated that the repeal was the result
of retaliation measures by the present administration in
North Dakota, aimed at former Governor Lang's regime.
It was said that Governor Moses' administration sought to
repeal many of the laws passed by the previous regime and
that the divorcement law was one of them."
If tli is purported explanation represents the only motive
for the passage of the divorcement bill, why should the
leaders of the present North Dakota Legislature have said
that the bill had been passed under "peculiar" circum-
stances, and that the legislators had voted for the bill
under a misapprehension, with no idea that the divorcement
act was involved ? If the present regime had voted in retali-
ation against its predecessor, there certainly would have
been no "misapprehension" or "misunderstanding" as to
the nature of their actions.
In the same issue of the Film Daily, Governor Moses is
reported as having said, when he signed the repeal bill :
"Since this law already cost $2,000 in taxpayers' money,
and may cost several thousand more, I can see no apparent
reason or benefit to the state for further expenditures along
this line. While this may inconvenience the federal govern-
ment, it will not end their case, so I sign this bill after care-
ful study."
The purported reason of the Governor, too, seems pecu-
liar. He sets the cost of the divorcement law to the State
of North Dakota at $2,000, which amount would include all
the expenses connected with the law from the time of its
introduction to the Legislature as a bill, to its present status
in the U. S. Supreme Court, where its constitutionality was
to have been determined. Certainly, if the cost to date had
been only $2,000, the additional cost to conclude the test of
the law's constitutionality, a matter only of appearing be-
fore the Court to argue the case, should have been but a
small fraction of $2,000, and not, as the Governor says,
"several thousands more."
It is significant also that, although the Governor men-
tions the possible inconvenience to the federal government,
he fails to mention the embarrassment and the resentment of
the Legislature, which was bound to result from the Gov-
ernor's having made their mistake irrevocable.
After all, the situation was, in substance, that the Legis-
lature had passed an act through a mistaken idea of its
nature and purpose ; the Legislators wanted to rectify their
mistake, but the Governor, by signing the bill, made this
impossible.
And so, as predicted by Harrison's Reports, words are
being spoken about the North Dakota repeal measure, but
it seems as if much more is yet to come.
EXAGGERATED ADVERTISING
The February 16 issue of Motion Picture Herald contains
a four-page insert advertising Paramount films.
The first page is devoted to advertising "One-Third of a
Nation," the picture that wasn't produced by Paramount
but is released by this company.
The advertisement consists of the reproduction of a still,
taken on the night of the opening of the picture, with the
following wording :
"Crowds jam Broadway as Paramount's ' . . . one third of
a nation . . . ' starts off world premiere at popular prices at
New York Rivoli Theatre."
Those who will examine the reproduction carefully will
see two significant things: few persons seem to be buying
tickets, for the faces of the people on either side of the box
office are turned outward, evidently watching either the
camera or the arrival of some celebrities ; and some people
are holding umbrellas over their heads, indicating plainly
that it was raining, and that they and others had gone under
the marquee presumably to avoid the rain.
At the premiere showing of a picture, large numbers of
curious people gather in front of the theatre to watch the
celebrities going in.
The still Paramount took and reproduced on the trade-
paper pages had two advantages : it was taken on the open-
ing night of the picture, and it was raining.
Incidentally, the picture "One-Third of a Nation" played
only one week.
There was a time when a statement from Paramount
meant something — an exhibitor could rely on it. Times
haves changed, however, if Paramount resorts to an adver-
tising expedient such as described, in order to lead the ex-
hibitors to believe that certain of its pictures draw when
they really should be tucked away on the shelves of a
film vault.
WHAT ONE OF THE SKOURAS
BROTHERS THINKS OF DARRYL
ZANUCK'S MOVE
Mr. Spyros Skouras, President of National Theatres,,
had this to say about Mr. Zanuck's action of taking Tyrone
Power off radio :
"I am greatly in favor of Mr. Zanuck's action. I only
hope the movement will spread. There are entirely too
many picture stars appearing on the air at the present time.
Theatres are badly hit, especially on Sunday, the day that
most theatres depend upon for 40% to 50% of their week's
gross. It is high time that the studios realize that the ex-
hibitors, their customers, are the chief sufferers of the
avalanche of film players on the air."
Of course, the withdrawal of one motion picture star
from the large number of radio programs employing almost
every motion picture star of prominence can have little
effect in remedying the evil against which Mr. Zanuck's
action was directed. This evil can be remedied only by the
withdrawal from radio programs of every important motion
picture star, for so long as these stars remain on the air
they will constitute the greatest competition with the thea-
tres, the very medium through which the stars had origi-
nally become popular ; and should they lose their popularity
through too frequent appearances on the radio they will
find that the theatres have become powerless to help them
regain it.
The movement to withdraw movie stars from the radio,
nowr gathering momentum, will, if carried out, prove bene-
ficial, not only to the producers and to the exhibitors, but
also to the stars themselves.
"AMEN" SAY WE
The following is copied from the February 18th issue of
Welford Beaton's Hollywood Spectator:
"Writing about film conditions in England, the editor of
Film Weekly, London, makes some remarks which can be
applied with equal pertinence to Hollywood : 'Now, more
than ever, this country needs producers who can realize that
films are made out of something more than a banker's note
with a string of noughts on it. Anybody can make a bad
film with a lot of money. Nobody can make a good film
even without a lot of brains.' I might extend the remarks
by stating that nobody with a lot of brains can make a good
film even with a lot of money when he is under the domina-
tion of someone who lacks a lot of brains."
The heading of this editorial is, "SAYING A MOUTH-
FUL." The editor could not have chosen better words to-
express this universal truth.
Entered as second-class matter January 4, 1921, at the post office at New York, New York, under the act of March 2, 1879.
Harrison's Reports
Yearly Subscription Rates: 1270 SIXTH AVENUE Published Weekly by
United States $15.00 181? Harrison's Reports, Inc.,
U. S. Insular Possessions. 16.50 Room lOli Publisher
Canada 16.50 New York, N. Y. P. S. HARRISON, Editor
Mexico, Cuba, Spain 1G.50 . _. . _. . _ .
Great Britain 15.75 Motlon P,cture Reviewing Service ^tahU^H T„lv 1 ma
Australia, New Zealand, Devoted Chiefly to the Interests of the Exhibitors Established July 1, 1919
India, Europe, Asia .... 17.50
Q rv,™ Rs Editorial Policy: No Problem Too Big for Its Editorial Circle 7-4623
.soc a i^opy Columns, if It is to Benefit the Exhibitor.
A REVIEWING SERVICE FREE FROM THE INFLUENCE OF FILM ADVERTISING
Vol. XXI SATURDAY, MARCH 11, 1939 No. 10
IMPORTANT DETAILS OF THE
DALLAS CASE
Some exhibitors have written me asking me to inform
them in which way the Federal Government's victory in the
Dallas case can apply to their individual situations.
Since I am not a lawyer, I cannot advise them on the
subject. Nor do I feel that a lawyer's opinion will be an
infallible guide, for, to begin with, the Government's vic-
tory, technically, applies only to theatres in the jurisdiction
of the District Court for the Northern District of Texas.
Then, again, it relates to a conspiracy covering the fixing
of minimum admission prices, as well as the prohibition
against double-features in subsequent-run houses ; and it is
difficult to prove conspiracy. On top of this, it will be for
the court to say, in each case that may be brought by an
exhibitor, whether the facts come within the ruling of the
U. S. Supreme Court.
I feel, however, that a restatement of the facts on which
the Supreme Court based its decision in that case will give
a definite inkling as to the rights, not only of these ex-
hibitors, but also of all others. For this reason, I am giving
the most important of such facts :
On July 11, 1934, Mr. R. J. O'Donnell, of Interstate Cir-
cuit, Inc., and Texas Consolidated Theatres, sent the fol-
lowing letter to the Paramount, Warner Bros., RKO, and
to other distributor branch managers :
"Gentlemen :
"On April 25th, the writer notified you that in purchasing
product for the coining season 34-35, it would be necessary
for all distributors to take into consideration in the sale of
subsequent runs that Interstate Circuit, Inc., will not agree
to purchase product to be exhibited in its 'A' theatres at a
price of 40c or more for night admission, unless distribu-
tors agree that in selling their product to subsequent runs,
that this 'A' product will never be exhibited at any time or
in any theatre at a smaller admission price than 25c for
adults in the evening.
"In addition to this price restriction, we also request that
on 'A' pictures which are exhibited at a night admission
price of 40c or more — they shall never be exhibited in con-
junction with another feature picture under the so-called
policy of double-features.
"At this time the writer desires to again remind you of
these restrictions due to the fact that there may be some
delay in consummating all our feature film deals for the
coming season, and it is imperative that in your negotia-
tions that you afford us this clearance.
"In the event that a distributor sees fit to sell his product
to subsequent runs in violation of this request, it definitely
means that we cannot negotiate for his product to be ex-
hibited in our 'A' theatres at top admission prices.
"We naturally, in purchasing subsequent runs from the
distributors in certain of our cities, must necessarily elimi-
nate double featuring and maintain the maximum 25c ad-
mission price, which we are willing to do.
"Right at this time the writer wishes to call your atten-
tion to the Rio Grande Valley situation. We must insist
that all pictures exhibited in our 'A' theatres at a maximum
night admission price of 35c must also be restricted to sub-
sequent runs in the Valley at 25c. Regardless of the number
of days which may intervene, we feel that in exploiting and
selling the distributors' product, that subsequent runs should
be restricted to at least a 25c admission scale.
"The writer will appreciate your acknowledging your
complete understanding of this letter."
At that time most of the independent theatres charged
less than twenty-five cents for admission, and showed two
features on the same bill.
Since the branch managers did not have the authority to
accept such terms, they referred the demands to their
respective home offices.
There followed conferences between Messrs. Hoblitzelle
and O'Donnell and the branch managers, in which took
part also home office executives, the outcome being an
agreement on the part of the distributors to grant, with one
or two exceptions, the O'Donnell demands.
Though only two distributors put these concessions in
their contracts, at the trial, which resulted from the U. S.
Government's suit, it was established that all the distribu-
tors carried these demands out during the 1934-35 season.
The court, as you already know by this time from what
has been said, not only in Harrison's Reports but also in
other industry journals, concluded that the agreement of
the distributors with each other, and between them and
Interstate as well as Consolidated, constituted a combina-
tion and conspiracy in restraint of interstate commerce, in
violation of the Sherman Act. Consequently the Dallas
District Court restrained the defendants from enforcing
these restrictions upon subsequent-run exhibitors. This
restraint, the U. S. Supreme Court, to which the case was
appealed, upheld.
In their appeal, the distributors asserted that the Dis-
trict Court's findings of agreements and conspiracy among
them to impose the aforementioned restrictions were not
supported by the court's subsidiary findings and by the
evidence ; that the contracts between Interstate and Con-
solidated on the one hand, and the distributors on the other,
were within the protection of the Copyright Act, and for
that reason they were not violations of the Sherman Act ;
and that the restrictions complained of by the Government
did not restrain unreasonably interstate commerce within
the provisions of the Sherman Act. But the majority of the
U. S. Supreme Court rejected these excuses and found
against the defendants. "The trial court," said the opinion
in one part, "interpreting the letter in the light of the whole
evidence, which showed unmistakably that one purpose of
both demands was to protect the first-run houses from com-
petition of subsequent-run houses, concluded that the sub-
stance of the proposals in one case as in the other was that
the restrictions upon the subsequent-run theatres were to
be imposed only in the same city in which the first run
occurred. ..."
In regards to the producers' assertion as to the protection
afforded by the copyright, a great deal of what the Supreme
Court said was printed in last week's Harrison's Reports.
Consequently, no further comment is necessary.
If the restrictions imposed upon any one of you are in
substance similar to those that were imposed upon the
independent exhibitors within the jurisdiction of the Dallas
District Court, perhaps you have a cause for complaint.
But instead of resorting to court proceedings at once, why
not take the matter up with the home offices of the com-
panies with which you are doing business, to see whether
your complaint can be looked into and justice done to you?
A considerably different spirit is prevailing among the dis-
tributors now, and you might be able to have the injustice
(Continued on last page)
38
HARRISON'S REPORTS
March 11, 1939
"The Adventures of Jane Arden" with
Rosella Towne, William Gargan
and James Stephenson
(Warner Bros., March 18; time, 58 mitt.)
A {air program melodrama. It should please action fans,
for the pace is fast and at times the action is exciting. Ac-
cording to the Warner home office, this is the first in a
series of pictures to be produced around the character of
"Jane Arden." Better stories will have to be used if the
producers hope to build it into popular fare; this one lacks
plausibility. The performances are, however, good ; Rosella
Towne makes an attractive "Jane Arden" and, with proper
handling, may become quite popular. Dennie Moore is
amusing as the heroine's nitwit friend. The romance is just
hinted at : —
When a society girl is found murdered, Rosella Towne, a
newspaper reporter, forms her own theories about the case.
Knowing that the victim had been impoverished, Miss
Towne realizes that she must have been connected with a
jewel smuggling ring in order to make enough money to
keep up appearances. She visits the jeweler (Pierre Watkin)
whom she suspected, offering to sell him stolen jewelry.
After a conference with his partner (James Stephenson),
Watkin offers Miss Towne a proposition to work with
them on a smuggling job, which she naturally accepts,
hoping thereby to trap them. Following instructions, she
sets sail for Bermuda, accompanied by Stephenson and his
girl friend (Peggy Shannon). In the meantime, Watkin,
learning who Miss Towne really was, cables the news to
Stephenson. William Gargan, the managing editor of Miss
Towne's newspaper, escapes from a trap set for him by
Watkin, and flics to Miss Towne's help, after first super-
vising Watkin's arrest. Watkin admits that Stephenson had
killed the society girl. Stephenson is captured. Miss Towne
and Gargan, who were in love with each other, set sail for
home.
Lawrence Kimble, Charles Curran and Vincent Sherman
wrote the original screen play, Terry Morse directed it,
and Mark Hellinger produced it. In the cast are Benny
Rubin and Edgar Edwards.
Not for children. Suitability, Class B.
"Blackwell's Island" with John Garfield,
Rosemary Lane and Stanley Fields
(First National, March 25; time, 70 mitt.)
A good gangster-prison comedy-melodrama. Although
John Garfield is the star and gives a good performance, the
outstanding part is played by Stanley Fields, as a tough
gangster given to practical joking. He gives an excellent
performance, alternating between viciousness and foolish-
ness realistically. It seems as if the part dealing with the
corrupt prison system was based on the scandal that broke
a few years ago regarding corruption on Blackwell's Island,
when it was under the control of a vicious gangster. These
scenes are both dramatic and amusing. The romance is
mildly pleasant : —
Garfield, a newspaper reporter, writes disparaging arti-
cles about Stanley Fields, a notorious racketeer, thereby
incurring his enmity. One of Fields' rackets was a "protec-
tive" association for fishermen. When one of the men re-
fused to join they beat him up, and later at the hospital
warn him that if he should testify they would kill him ;
they beat up also a policeman (Dick Purcell), because he
tried to help him. At the trial, Purcell persuades the man
he had protected to testify. This brings about a conviction
for Fields and two of his men. with a sentence of six months
at Blackwell's Island. Fields, because of his political pull,
runs the prison, living in luxury. He forces prisoners to
pay him a substantial sum each week for food and privi-
leges. Fields leaves the prison for nightly jaunts and, on
one of these occasions, kills Purcell. Garfield, who was in
love with Purcell's sister (Rosemary Lane), decides to
investigate. He brings about his own arrest, and is sent to
the prison. There he finds out what was actually going on.
Fields plans to kill him, but Garfield manages to escape.
With the evidence he had, Garfield convinces Victor Jory,
new prison superintendent, that something should be done.
They raid the prison and restore order. Fields is tried and
convicted on a murder charge ; he is sent to a federal prison
for life.
Crane Wilbur and Lee Katz wrote the story, and Crane
Wilbur, the screen play; William McGann directed it, and
Bryan Foy produced it. In the cast are Morgan Conway,
Peggy Shannon, Lottie Williams, Charles Foy, and others.
Unsuitable for children. Adult fare. Class B.
"Blondie Meets the Boss" with Penny
Singleton and Arthur Lake
(Columbia, March 8; time, 74 min.)
Moderately amusing family fare. Compared to the first
picture in the "Blondie" series, this one rates somewhat
below the other in entertainment value. The pace is slow,
actually draggy in spots; and some of the situations are
forced to provoke laughter. What was comical in the first
picture, seems slightly silly by repetition. The performances
are good, entirely in keeping with the characters portrayed.
Both the hero and the heroine occasionally act like nitwits,
but one feels sympathy for them. One of the most comical
situations is that in which the hero accidentally wins a
jitterbug contest : —
Dagwood (Arthur Lake) and his wife Blondie (Penny
Singleton) plan to leave on a vacation with Baby Dump-
ling (Larry Simms). When Mr. Dithers, his employer
(Jonathan Hale) informs him that he would have to post-
pone his vacation, Dagwood is annoyed and resigns. Blon-
die goes to see Mr. Dithers to ask him to take Dagwood
back ; instead of doing that, he engages Blondie to take her
husband's place. This so enrages Dagwood that he goes off
•on a fishing trip with a friend. But when two girls join the
party, Dagwood leaves in haste. He and his wife are recon-
ciled. But trouble starts again when Blondie finds a picture
of Dagwood with one of the girls ; she decides to leave him.
In the meantime, she neglects to take care of the deal which
Mr. Dithers had left in her care. But this works out for the
best; Mr. Dithers, upon his return, is overjoyed to learn
that she had not bought the property he had asked her to,
for as it turned out the plans for an airport on that prop-
erty had been abandoned. Dithers is so happy that he re-
engages Dagwood. Everything is adjusted.
Kay Van Riper and Richard Flournoy wrote the story,
and Richard Flournoy, the screen play ; Frank R. Strayer
directed it, and Robert Sparks produced it. In the cast are
Daisy the dog, Dorothy Moore, Don Beddoe, Inez Court-
ney, Skinnay Ennis and his band, and others.
Suitability, Class A.
"Mystery Plane" with John Trent, Marjorie
Reynolds and Milburn Stone
(Monogram, March 8; time, 60 min.)
A good melodrama, with plentiful exciting action. It is
the first in a series of pictures to be made from the
popular cartoon strip called "Tailspin Tommy." Consider-
ing the fact that all the children (and even adults)
read this strip daily, there should be a ready-made audience
eager to see it. They will not be disappointed, for, as in the
cartoon strip, "Tailspin Tommy" is presented, not only as a
daring pilot, but also as a courageous man. The closing
scenes, in addition to being thrilling, touch one's emotions
because of the sacrifice made by a character known as
"Buddy" (Pete George Lynn), who, incidentally, gives an
excellent performance. The romance and comedy are pleas-
ant, without interfering with the action : —
Tommy, at the age of ten, worships Captain Brandy,
famous stunt flyer, whose war career he had followed
closely. He is overjoyed when, at a fair, he personally
meets the famous flyer. Fifteen years later, Tommy (John
Trent) is a famous stunt flyer. Working with him on his
new bombing invention are his two childhood pals, Skeeter
(Milburn Stone) and Betty Lou (Marjorie Reynolds) ;
they are financed and managed by Paul (Jason Robards).
Their first test for the benefit of Army officials is success-
ful. But this test had been seen by Winslow (Lucien Little-
field), an international agent and gangster. Through a
trick, he kidnaps Tommy, Skeeter, and Betty Lou, threat-
ening them with death unless they gave him the plans for
the new bomber. Tommy is shocked to find that Brandy,
who had taken to drink, was one of the gang. Brandy is
heartbroken at the fact that he was unable to do anything to
help Tommy. Finally they escape, and start off in a plane
owned by Winslow. Winslow pursues them, compelling
Brandy to fly the pursuit plane. But Brandy, instead of fol-
lowing orders, plunges the plane into the sea, bringing
death to the gang and to himself. Tommy's plans are ac-
cepted by the Army.
Hal Forest wrote the story, and Paul Schofield and
Joseph West, the screen play ; George Waggner directed it,
and Paul Malvern produced it. In the cast are Polly Arm
Young, John Peters, Betsy Gay, and others.
Suitability, Class A.
March 11, 1939
HARRISON'S REPORTS
39
"I Was a Convict" with Barton MacLane
and Beverly Roberts
(Republic, March 6 ; time, 63 min.)
Just a mildly entertaining program comedy-melodrama.
The story, which is a hodge-podge of unbelievable situa-
tions, fails to hold one's interest. For one thing, the leading
characters, ex-convicts, do little to win one's sympathy. The
hero, for instance, constantly refers to the fact that he was
waiting for his chance to steal a large sum of money from
his former cell-mate, a wealthy man, who had gone to
prison on a charge of income tax evasion, and who, when
released with the hero, had given him a responsible posi-
tion in his firm. Because of this, the spectator naturally
feels little sympathy for the hero. It is not until the end that
he decides that honesty is the best policy, but by that time
one does not care what happens to him. The melodramatic
situations are the result of the actions of two escaped con-
victs, who try to force the hero to open his employer's safe,
to give them the $98,000 payroll money. Infuriated when
the hero outwits them, they later kidnap the employer and
hold him for ransom. The hero, who by this time was
touched by the faith his employer had shown in him, risks
his life to save him. Not only does the hero win a promo-
tion, thus outwitting the scheming general manager who had
tried to ruin his employer, but also the hand of his em-
ployer's daughter, who had fallen in love with him.
Robert D. Andrews wrote the story, and Ben Markson
and Robert D. Andrews, the screen play ; Aubrey Scotto
directed it, and Herman Schlom produced it. In the cast
are Clarence Kolb, Janet Beecher, Horace MacMahon, Ben
Welden, and others.
Not for children. Class B.
"Oklahoma Kid" with James Cagney,
Rosemary Lane and Humphrey Bogart
(Warner Bros., March 11 ; time, 80 min.)
Because of the present popularity of outdoor melodramas
and of James Cagney's drawing power, this should do very
good business at the box-office. As to its entertainment
value, it is good as far as Westerns go ; it offers, however,
nothing startling in the way of novelty of plot or of action,
relying for its "punch" on the usual ingredients that are
typical of westerns, — that is, lawlessness, fast horseback
riding, and thrilling fist fights. One situation, although used
before ("Cimarron"), is still an exciting thing to see; it
shows the settlers racing in their covered wagons or on
horseback to claim land set aside by the government for
new settlers. In spite of the fact that Cagney gives a good
performance, he somehow seems out of place in the part of
the western bad man ; he lacks fire, particularly in the emo-
tional scenes. The romance is played down: —
Cagney, who had run away from home at an early age
because he wanted to live a free and easy life, finds his
father (Hugh Sothern) and brother (Harvey Stephens)
heading a group of settlers, who were waiting for the
government's signal to race towards new land which they
could claim; they do not acknowledge their relationship.
He becomes acquainted with Rosemary Lane, daughter of
a Judge (Donald Crisp), who, too, was going to the new
land. Humphrey Bogart and his gang sneak over to the
new land, staking their claims before the legitimate settlers
could arrive. In order to preserve peace, Sothern is com-
pelled to give Bogart written permission to open saloons
for gambling and drinking. Cagney arrives in town ; when
he starts spending new silver dollars, Bogart recognizes it
as the money he and his gang had stolen from the govern-
ment wagon, but which Cagney had in turn stolen from
them. After a gun fight, Cagney escapes. Bogart, tired of
Sothern's interference in his business, frames him on a mur-
der charge. Cagney breaks into the jail, begging his father
to escape, but he refuses. The news leaks out about Cag-
ney's attempt and about his relationship with the prisoner,
and Bogart uses that as a means of stirring up the crowd
to a frenzy. As a result, they hang Sothern. Cagney sets
out to get the five men responsible for it. He kills three,
brings back the fourth a prisoner, and then goes after
Bogart. Stephens rushes to his asistancc ; but Bogart shoots
him. Although wounded, Stephens kills Bogart and then
dies. Cagney decides to settle down, with Miss Lane as
his wife.
Edward E. Paramore and Wally Klein wrote the story,
and Warren Duff, Robert Buckner, and Edward E. Para-
more, the screen play; Lloyd Bacon directed it. In the cast
are Charles Middleton, Edward Pawlcy, Ward Bond, and
others.
The killings and robberies make it unsuitable for chil-
dren. Class B.
"The Star Reporter" with Warren Hull
and Marsha Hunt
(Monogram, February 22; time, 62 min.)
A fair program newspaper-racketeer melodrama. The
story is interesting, holding one in fair suspense. It is
helped along by competent direction and good acting. The
closing scenes are the most exciting ; there the criminals
are rounded up. The romance is appealing : —
Wallis Clark, district attorney, pledges himself to fight
crime. He obtains a written confession from Morgan Wal-
lace, a criminal, admitting that he had killed a man. Warren
Hull, newspaper publisher engaged to Clark's daughter
(Marsha Hunt), promises to work with him. But when the
district attorney learns from Hull's mother (Virginia
Howell) that Wallace had been her first husband, and, un-
known to any one, the father of Hull, he decides to go easy,
knowing that Wallace would use the information to dis-
grace Hull. Hull, not knowing the reason for Clark's sud-
den change, starts blasting him in his newspaper. In the
meantime, another criminal steals the confession from the
District Attorney, using it as a means of blackmail. But
Wallace, who had been released on bail, gets the confession,
killing a man while doing it. Miss Hunt, who, too, had tried
to obtain the confession, is arrested for the murder. Hull
learns the truth ; he goes to Wallace and tells him of their
relationship. This softens Wallace. He signs another con-
fession, clearing Miss Hunt, and listing the names of all
the gangsters and the crimes they had committed. In a gun
fight with a crooked lawyer who tried to get the confession,
Wallace is killed. The police arrive in time to arrest the
lawyer and to save Hull. Hull and Miss Hunt marry.
John T. Neville wrote the original screen play ; Howard
Bretherton directed it, and E. B. Derr produced it. In the
cast are Clay Clement, Paul Fix, and others.
Unsuitable for children. Class B.
"Spirit of Culver" with Jackie Cooper
and Freddie Bartholomew
(Universal, March 10 ; time, 90 min.)
Good entertainment. It is a remake of "Tom Brown at
Culver," produced by Universal in 1932 ; and. as in the first
picture, it has the ingredients for mass appeal. Human in-
terest is awakened by the sympathy one feels for the young
hero. Particularly appealing are his actions towards the
end, when he shows willingness to give up comfort and
schooling in order to help his father. The situation in which
father and son first meet, the relationship being unknown
to the son, touches one's emotions. There is plentiful com-
edy ; most of the laughter is provoked by the actions of the
young boys at the military academy. Except for a puppy
love affair involving Freddie Bartholomew, which is quite
amusing, there is no romance : —
Penniless and embittered by his inability to obtain work,
his only possession being a Congressional Medal of Honor
his mother had received when his father had died in France
during the war, Jackie Cooner is compelled to stand on line
with other boys for free food donated by the American
Legion. Andy Devine. the legionnaire in charge of the
kitchen, takes a liking to him and gives him a job as assist-
ant dishwasher. When Devine learns that Cooper's father
had l>ecn the surgeon who had operated on him in France,
he is happy that he had helped him. The American Legion
decides to send Cooper to Culver Military Academy. Coop-
er's attitude, however, does not change ; he goes to the
school merely because it meant he could have three meals
a day. But his association with the boys, in particular with
Freddie Bartholomew, changes him, and in a short time he
comes to love the life. Devine is shocked one day to find
that Cooper's father (Henry Hull) was alive. Hull tells
him that, suffering from shell-shock, he had deserted and
had wandered around the world ever since. Devine puts
him in a veterans' hospital under an assumed name, and. on
a pretext, gets Cooper there so that Hull could see him.
Hull, who had run away from the hospital, intent on dis-
appearing so as not to spoil his son's life, cannot resist the
impulse to visit the boy at the Academy. After his departure,
Cooper realizes that he was his father, and rushes after
him. He insists on leaving town with him. But the timely
arrival of Devine, who informs Hull that he had obtained
an honorable discharge for him from Washington, compel
both to alter their plans. Cooper is joyous at being able to
go back to school.
George Green, Tom Buckingham, and Clarence Marks
wrote the story, and Nathanael West and Whitney Bolton,
the screen play ; Joseph Santley directed it, and Burt
Kelly produced it. In the cast are Tim Holt, Gene Rey-
nolds. Kathryn Kane. Jackie Moran, and others.
Suitability, Class A.
40
HARRISON'S REPORTS
March 11, 1939
removed in such a manner. Just state the facts of your case
and the reasons for your complaint in as plain language as
possible, showing where the injustice is committed, and
send them to the proper home office. You will find the
address of each company in the Harrison's Reports Index.
In the old days, your complaint would be, no doubt,
thrown in the waste-paper basket ; but the producers have
had so many law suits lately that they are, I am sure, fed
up with them. Besides, the Government's suit has had a
sobering effect on them, and even on their lawyers.
If you so desire, you might send a copy of your complaint
also to this office so that, in case no action is taken, the
writer might be able to intercede for you.
TRADE PRACTICES NEGOTIATIONS
AT A STANDSTILL
On March 1, the authority of the Allied committee
negotiating with the distributor committee for the adoption
of fair trade practices expired, and since the Allied board
of directors will not meet, its authority cannot be renewed.
Consequently, official negotiations with the Allied organi-
zation through this committee cannot be continued.
According to a statement from the Washington Allied
headquarters, however, the distributors are free to submit
whatever further proposals they see fit to make, and the
General Counsel of the organization will forward them to
the board of directors by mail for whatever action they may
decide to take.
The latter part of January, Allied counsel was asked to
redraft the distributor proposals in a language that would
be clear to the exhibitors, and on February 7 he submitted
his revised draft ; it embodied not only an alteration in
phraseology, but also an outline of the principles, machin-
ery and procedure of a proposed arbitration system.
Since that time, Mr. Myers has been advised by distri-
butor representatives that the distributor committee will
soon submit to Allied the final draft. But so far no new
draft has been submitted. There is no question, however,
that one will be submitted soon, even though Messrs.
Rodgers and Kent are on the Coast, conferring with pro-
duction executives.
THE MERCIFUL EFFECT OF THE NEELY
BILL ON THE POCKETBOOKS
OF THE PRODUCERS
In the February 17 issue of The Hollywood Reporter,
W. R. Wilkerson discusses the incident of a producer-
director who told him that he was asked to start shooting a
picture before the script was ready, and of his fear that the
picture would, under such circumstances, cost $50(3,000
more.
According to Mr. Wilkerson, the picture was produced,
but it cost, not $500,000, but $780,000 more.
In the same editorial, he says : "Recently, two studios
have been forced to shelve what should have been, two very
important pictures, each for a loss of better than $1,000,-
000 because they started production with practically no
script."
Mr. Wilkerson asks : "Has any one ever found an intelli-
gent reason for starting a picture before the script is
finished?"
No, Mr. Wilkerson! There is absolutely no intelligent
reason why a producer should start a picture, particularly
when it is to cost at least $500,000, before the script is ready
for shooting. Has any one ever heard of a builder starting
the erection of a building that is to cost $500,000 before the
architect is ready with his plans? Without a finished script
no unit producer can predict what twist the situations will
take. Often he is compelled to "scrap" costly scenes, be-
cause the writer finds himself compelled to make altera-
tions in the story. Quite often, the production crew is com-
pelled to wait for the author to bring in a part of the story.
And there is a payroll for that picture running into thou-
sands of dollars a day; waiting for the author to bring in
copy is a costly affair.
No unit producer can tell in advance how much a picture
will cost unless he has in his hands a script complete in
every detail. It is only thus that he is able to break down
his script and apportion the costs.
The Neely Bill, if passed, will correct such an unnatural
situation, for the law will compel the distributor to furnish
to the exhibitor a true synopsis of the story, containing the
main outlines. Moreover, the pictures will then be sold on
their individual merits rather than on the merit of the
entire block, each picture bringing in only what it is worth.
The company that will permit its producers to waste half
of the picture's budget, through either carelessness or in-
competence, will soon find itself confronted with the neces-
sity of getting rid of those responsible for the waste. Con-
sequently, under a law such as that which has been proposed
by Senator Neely, the producers should save millions each
year, savings which will bring relief, not only to the film
companies themselves, but eventually also to the exhibitors.
Mr. Wilkerson has opposed the Neely Bill all along, but
he does not say how the conditions he complains against
may be remedied.
THE STATUS OF "THE LADY
VANISHES"
An exhibitor has informed this paper that the 20th
Century-Fox branch manager of his territory is trying to
compel him to play "The Lady Vanishes" under his 20th
Century-Fox contract.
"The Lady Vanishes" is not a 20th Century-Fox picture ;
it is a Gaumont-British, and is so designated in the 20th
Century-Fox release lists.
It is true that, under the contract, 20th Century-Fox may
deliver to the contract holders four English-made pictures,
but "The Lady Vanishes" does not come under such a
classification : "English-made" means pictures produced in
England by 20th Century-Fox, and not by some other
concern. The proof that such is the meaning of this phrase
may be seen in the contract's Eighth Clause, which reads
as follows :
"The Distributor warrants that none of said motion pic-
tures are . . . foreign produced by a foreign producer, ex-
cept those specifically specified as such in the Schedule. . . ."
And the Schedule fails to specify that "The Lady Vanishes"
is not a foreign produced picture.
But there is no reason why those of you who may be able
to obtain this picture at a satisfactory price should not play
it, for it is one of the best pictures that has come out of
British studios and should do credit to the theatres that
will play it.
MORE "REMAKES"
In a recent issue, twenty-five pictures were listed as
having been announced by different producers for remake.
Of the twenty-five, nine have been announced by Warner
Bros. Here are two more that it will produce.
According to an item in the New York Times, this com-
pany is planning to remake "Twenty Thousand Years in
Sing Sing," with John Garfield as the star. It was first
produced in 1933 by the same company (First National),
with Spencer Tracy as the star. It turned out a good enter-
tainment, combining melodrama with human interest and
comedy. But since that time there have been produced so
many prison melodramas that a story such as this is no
longer novel. It may, however, do well because of Garfield,
who is gaining popularity fast.
An item in Daily Variety gives the information that War-
ners will remake also "Burning Daylight," the Jack London
yarn. This story was produced first in 1914, by Paramount ;
in 1920, by Metro, with Mitchell Lewis as the star ; and in
1928, by First National, with Milton Sills as the star-
three times in all. None of the times did it set any ex-
hibitor's box-office "afire," and it is doubtful whether it
could be made into anything outstanding now. The "punch"
is in the scenes where the hero is shown holding up the two
millionaires at the point of a gun and taking away from
them the millions they had cheated him of. Even though he
may have been justified in doing so, it is not an edifying
act. Errol Flynn may play the hero's part.
Entered as second-class matter January 4, 1921, at the post office at New York, New York, under the act of March 3, 1879.
Harrison's Reports
• Yearly Subscription Rates : 1270 SIXTH AVENUE Published Weekly by-
United States $15.00 P,w«w 1 ftl 9 Harrison's Reports, Inc.,
U. S. Insular Possessions. 16.50 IMWffl iOl« Publisher
Canada 16.50 New York, N. Y. P. S. HARRISON, Editor
Mexico, Cuba, Spain 16.50 . „, .. _. . _ . _ .
Great Britain 15 75 A Motlon Picture Reviewing Service
Australia, New Zealand, Devoted Chiefly to the Interests of the Exhibitors Established July 1, 1919
India, Europe, Asia .... 17.50
,c„ „ /-vmv Its Editorial Policy: No Problem Too Big for Its Editorial Circle 7-4622
15 c a ^opy Columns, if It is to Benefit the Exhibitor.
A REVIEWING SERVICE FREE FROM THE INFLUENCE OF FILM ADVERTISING
Vol. XXI SATURDAY, MARCH 18, 1939 No. 11
UNAUTHORIZED ALTERATIONS NOT
BINDING AND MAY EVEN
NULLIFY A CONTRACT
The March 8 Service Bulletin, published by Pete
Wood, business manager of Independent Theatre
Owners of Ohio, contains the following interesting
news item under the heading, "Hard to Erase the
Spots" :
"We were just complimenting ourselves upon
the improvement in the ethics of the industry when
'Up Pops the Devil' and gives us a resounding slap
in the kisser.
"The 'devil' in this case is United Artists, who
pulled a fast one by changing the price allocations
in the Edward Small and Hal Roach current con-
tracts. These changes were made after the exhibi-
tor had signed the contracts (and without his per-
mission), through the medium of an added provi-
sion 'rubber-stamped' upon the exhibitor's copy of
the approved contract.
"It has been sometime since any major company
resorted to an act of this nature and, as United
Artists had absolutely no right to add this provision
to the contract without the express permission of
the exhibitor, we urge all exhibitors whose con-
tracts were so changed to write to United Artists
that, in the event fewer pictures than the num-
ber called for in the Small and Roach contracts are
delivered, the total rentals for the delivered pic-
tures shall not exceed the amount of the rental
stated in the contracts.
"We ask each and every member who bought
these pictures to look at his approved copy of the
contract and advise this office if there has been
added to the 'exhibitor's copy' of the contract a
rubber stamp provision which does not appear in
the 'Application for Contract' left with him at the
time he signed the contract."
That any one in United Artists should resort to
such tactics in these days is astounding.
If Mr. Wood's information is accurate, the al-
teration in the contract has occurred, either at the
exchange, or at the Home Office ; and has been
made, not by a salesman, but by a responsible
official.
United Artists owes an explanation of this inci-
dent to the independent theatre owners of the
United States. As a matter of fact, Allied States
should take a hand in this matter with a view to
identifying the guilty official and passing his name
along to the exhibitors.
Regarding Pete Wood's advice to the exhibitors
of his territory as to what they should do in case
any of them have found their contracts altered,
allow me to say that a clause inserted into the con-
tract without the knowledge of the exhibitor is not
binding. Under the laws of some states, I am in-
formed, such contracts may be entirely nullified.
Mr. Pete Wood should, therefore, find out what the
law in this regard is in the State of Ohio, with the
view of advising the members of his organization.
When your contract is altered by any distribu-
tor, irrespective of whether the alteration has been
made by a minor or by a major official, just disre-
gard the new provision, so informing the distribu-
tor; and if the exchange should try to compel you
to live up to the provisions of the unauthorized
alteration, you should notify this office to that
effect.
PUBLIC BACKING OF AN
INDEPENDENT THEATRE
OWNER
According to Main Line Times, of Ardmore,
Pennsylvania, the Bryn Mawr Business Associa-
tion has appealed to the Department of Justice to
order the operators of the Ardmore Theatre "and
producers and distributors associated with them
(Warner Bros. ) to cease and desist" from discrimi-
nating against the Seville Theatre. Copies of the
resolution were sent also to many United States
Senators, as well as to most of the film companies.
The move of the Bryn Mawr Business Associa-
tion was prompted by the suit that had been brought
by Harry Fried, owner of the Seville, the Subur-
ban, and the Anthony Wayne theatres, against the
distributors who are now supplying films to the
Ardmore, charging conspiracy in restraint of trade,
as a result of their withholding all their films from
his theatres until after they have been shown at
the Ardmore.
According to this newspaper, a committee of the
business association found indications of discrimi-
nation, detrimental to the interests of the commu-
nity in that it affected Bryn Mawr's cultural advan-
tages. It found that chain theatres "retain all op-
tions, privileges and prerogatives in the conduct of
the business by controlling the date of exhibition of
respective films and it appears to the committee that
no remedy, other than an action at law, is available
to correct this seeming discrimination against the
citizens and the best interests of Bryn Mawr. . . . "
The Bryn Mawr Business Association has taken
this action despite an address given to it by the
manager of the Ardmore Theatre in an attempt to
justify the company's policy, as bringing better
pictures to the towns of the Main Line.
{Continued on last page)
42
HARRISON'S REPORTS
March 18, 1939
"The Flying Irishman" with Douglas
Corrigan, Paul Kelly and
Eddie Quillan
(RKO, March 24; time, 71 mm)
Fair. This picture's box-office possibilities have been
minimized by the length of time that has elapsed since
Douglas Corrigan made his famous flight to Ireland ; there-
fore, a strong exploitation campaign will be needed to put
it across. As entertainment, it is strictly program fare,
suitable mostly for aviation enthusiasts. Its appeal should
be directed mainly to men and to children ; the lack of a
romance or of an absorbing plot makes it doubtful for
women. Supposedly the story of Corrigan's struggles to be-
come a famous aviator, the plot is developed in a simple
way ; parts of it are narrated in the form of a newsreel, but
for the most part it is acted out.
The story starts with Corrigan's home life as a young
boy. Constant bickering between his mother (played by
Dorothy Peterson) and his father (J. M. Kerrigan) finally
resulted in his father's leaving home. Faced with the neces-
sity of helping his mother support his younger brother and
sister, Corrigan had to give up the thought of going to
college. Instead he worked hard; following a promise he
had made to his mother before she had died, he sent his
brother (Eddie Quillan) to college. There was only one
thing Corrigan wanted to do, and that was to learn how to
fly. While working at an aeroplane factory, he made friends
with a one-time war ace ( Paul Kelly ) , who gave him in-
structions. Corrigan's hardest times followed then ; in com-
pany with his brother, who had left college, he barnstormed
the country in a cheap plane he had bought with the money
he had inherited from his father. His one desire now was to
become a transport pilot ; but there were many require-
ments. Until Corrigan could earn enough money to meet
one, new requirements would crop up. Desperate, he finally
decided to do something spectacular, which resulted in his
flight to Ireland in a nine-year old plane that he owned. His
success brought about the desired result.
Ernest Pagano and Dalton Trumbo wrote the screen
play, Leigh Jason directed it, and Pandro S. Berman pro-
duced it. In the cast are Robert Armstrong, Gene Rey-
nolds, Donald MacBride, Scotty Beckett, and others.
Suitability, Class A.
"The Ice Follies of 1939" with Joan
Crawford, James Stewart
and Lew Ayres
(MGM, March 10; running timc,8\ win.)
A very good box-office attraction. This is due, not only
to the pleasant romantic story, as well as to the drawing
power of the stars, but also to the novel way in which the
ice-skating routines have been staged. The skating troupe,
headed by the well-known team of Bess Ehrhardt and Roy
Shipstad, performs with skill, blending comic numbers
with thrilling ones. Particularly impressive are the closing
scenes, photographed in technicolor ; they have an ex-
tremely lavish background. The skating, costuming, and
form of presentation are unusually good. Human interest
is awakened by the sympathy one feels for both hero and
heroine : — ■
Feeling that she could help her husband (James Stewart)
and his friend (Lew Ayres), ice-skating partners who were
out of work, Joan Crawford obtains a position as a motion
picture actress. Ayres refuses, however, to be supported ;
he leaves for the East, in an effort to procure bookings.
Stewart is miserable at the separation. At first he accepts
Miss Crawford's work good-naturedly, doing the house-
work and cooking. But once she becomes famous, his pride
is hurt. He leaves her, promising to return when he, too,
would be successful. His plans for an "Ice Follies" revue
finally take form, and in a short time, bookings start pour-
ing in. But their work keeps them apart. Unable to bear the
separation any longer, Miss Crawford decides to give up
her career. Lewis Stone, the studio head, thinks of a better
plan. He signs up Stewart's troupe for motion picture work,
at the same time engaging Stewart as the producer of Miss
Crawford's pictures, thus bringing happiness to the re-
united pair.
Leonard Praskins wrote the story, and he, Florence
Ryerson, and Edgar Allan Woolf, the screen play ; Rein-
hold Schunzel directed it, and Harry Rapf produced it. In
the cast are Lionel Stander, Charles D. Brown, and others.
Suitability, Class A.
"Trouble in Sundown" with George O'Brien
and Rosalind Keith
(RKO, March 24; time, 60 nun.)
A good program Western. Although the story is routine,
the action is fast-moving and thus one's attention is held
well. The fast horseback riding and the exciting fist fights
should satisfy the Western fans. As for others, there is a
sprinkling of comedy, a few musical interpolations, and a
pleasant romance. George O'Brien plays the crusading
ranch owner's part with conviction :—
O'Brien arrives at the village in time to stop an angry
crowd from lynching the bank president, whose safe had
been robbed of $90,000, and who was supposed to be the
only one who knew the combination. They had been urged
to take the law into their own hands by the crooks them-
selves, who posed as honest citizens. O'Brien, who was in
love with the president's daughter (Rosalind Keith), sends
him to a hideout. But the villain's men follow him there
and try to force him to sign a confession, their intention
being to kill him. O'Brien arrives with a deputy ; the crooks
shoot and kill the deputy, making it appear as if the crime
had been committed by the president, who later gives him-
self up. At the trial, O'Brien thinks of a plan to trap the
villain leader (Cyrus W. Kendall). His plan works and the
president's innocence is established. Kendall and his men
are arrested, and law and order is restored to the village.
O'Brien and Miss Keith plan to marry.
Charles F. Royal wrote the story, and Oliver Drake,
Dorrell McGowan, and Stuart McGowan, the screen play ;
David Howard directed it, and Bert Gilroy produced it. In
the cast are Ray Whitley, Chill Wills, Ward Bond and
Howard Hickman.
Suitability, Class A.
"The Headleys at Home" with Evelyn
Venable and Grant Mitchell
(Syndicate Exchanges ; time, 59 mitt.)
A mildly pleasant program picture, suitable mostly for
neighborhood theatres. It is a domestic comedy, in which
the head of the house (Grant Mitchell) is harrassed by a
socially ambitious wife (Betty Roadman). There is fair
excitement and comedy in the closing scenes, when Miss
Roadman, through a trick, entertains in her home a crook
whom she believed to be a millionaire college friend of her
husband's. The romance is mildly pleasant: —
Miss Roadman, proud of the fact that her husband
(Mitchell) had gone to the same college as that attended
by a nationally known millionaire, boasts to every one that
her husband was a close friend of this millionaire. Mitchell
tries to reason with her by telling her that he had had just
a nodding acquaintance with the man. His two daughters
(Evelyn Venable and Alicia Adams) sympathize with him.
When Miss Roadman learns that the millionaire intended
visiting their town, she prepares to entertain him. Miss
Venable, realizing that her father did not know the man
and, therefore, could not invite him, turns to her fiance for
help. He engages an actor to impersonate the millionaire at
the party. But it develops that this actor was really a crook
who, the day before, had robbed Mitchell's bank. At the
party, Mitchell recognizes him from a mark on his hand.
After some excitement, the crook is subdued and the money,
which he had brought along with him in a suitcase, is re-
covered.
Carrington North and William Miles wrote the story,
and they and Nicholas Bela, the screen play ; Chris Beute
directed it, and B. W. Richards produced it. In the cast are
Robert Whitney, Vinee Barnett, Benny Rubin, Louise
Beavers, Kenneth Harlan, and Edward Earle.
Suitability, Class A.
"Yes, My Darling Daughter" with Priscilla
Lane and Jeffrey Lynn
(First National, February 25 ; time, 74 inin.)
In the review printed in the February 25 issue of Harri-
son's Reports, the running time was given as 85y2 minutes.
Since that time, several cuts have been made, bringing
the running time down to 74 minutes. This new footage
will be, according to the Home Office, nation-wide.
Incidentally, the original version was placed by the
Legion of Decency in the "C" list; but with the deletions
made the classification has been changed to the "B" list,
which means objectionable in part.
March 18, 1939
HARRISON'S REPORTS
43
"Society Smugglers" with Preston Foster
and Irene Hervey
(Universal, February 24; time, 70 mill.)
An entertaining program melodrama ; the acting and di-
rection are capable, and the production values fairly good.
The action, which centers around the efforts of treasury
department agents to uncover a gang of jewel smugglers,
is fast and at times exciting. Realizing the constant danger
to the agents, one is naturally held in suspense. Although
the story is not novel, several unusual twists have been
used in the plot developments. The romance and comedy
are pleasant additions : —
Irene Hervey, assistant to Preston Foster, treasury de-
partment agent, is assigned to work in a luggage store,
whose owner (Clay Clement) was suspected of being a
smuggler. When the luggage company sponsors a slogan
contest, the winners to tour Europe, Miss Hervey and
Foster suspect something. They substitute Regis Toomey,
another agent, in place of one of the winners. By carefully
watching Fred Keating, who had been sent to Europe along
with the winners as the company representative, Toomey
learns that Keating was smuggling jewels by placing them
in the trunks belonging to the touring winners. But by this
time Clement had discovered Miss Hervey 's connection
with the treasury department. Following orders of his chief
(Walter Woolf King), who had fallen in love with Miss
Hervey, Clement cables the news to Keating. Keating kills
Toomey, throwing his body overboard. Eventually Foster
traps Clement and King, forcing them to confess. Their
work finished, Miss Hervey and Foster decide to marry.
Arthur Horman wrote the screen play, Joe May directed
it, and Ken Goldsmith produced it. In the cast are Frank
Jenks, Frances Robinson, Raymond Parker, Milburn
Stone, and others.
Suitability, Class A.
"Never Say Die" with Martha Raye
and Bob Hope
(Paramount, April 21 ; time, 81 min.)
This comedy, bordering on slapstick, is good mass enter-
tainment. The story, which is made up of gags, is thin ; but
that does not detract from the picture's entertaining quality,
for the gags are extremely comical. One is kept laughing
almost throughout. The most amusing situation is in the
close, when Bob Hope and Alan Mowbray engage in a
pistol duel. So comical is it that it should provoke uproari-
ous laughter, leaving the spectator in a good mood. Bob
Hope, Martha Raye, and Andy Devine manage to put the
gags over in an amusing way without too much clowning
or silliness. Miss Raye sings one song: —
Bob Hope, an American millionaire touring Europe, is
constantly worried about his health ; he imagines that he
was suffering from all kinds of diseases. To add to his
troubles, he is pursued by a fortune-hunting widow (Gale
Sondergaard) , who had killed her two previous husbands.
Through an error, a chemist sends Hope his findings in an
acidity test that really referred to a test given to a dog.
Hope's doctor, upon reading the findings, is amazed ; he
informs Hope that he would dwindle away and die within
sixty days. Feeling that he would like to do a good deed, he
helps out Miss Raye, daughter of a millionaire Texas oil
man, who wanted to marry her off to an impoverished
nobleman (Mowbray), even though she loved Andy De-
vine, an American. Hope tells her that, since he would soon
die, she could marry him, inherit his fortune, and then
marry Devine. Complications arise — Devine arrives on the
day of the marriage and insists on accompanying the newly-
weds so as to keep a protecting eye on Miss Raye. Mowbray
and Miss Sondergaard try to make trouble, but Hope paci-
fies them by telling them they were legatees under his will.
But when it is discovered that the acidity test was not
Hope's, and that he would live, Mowbray challenges him
to a duel, which Hope wins. By this time he and Miss
Raye arc in love with each other ; they are happy when
Devine and Miss Sondergaard decide to marry.
William H. Post wrote the story, and Don Hartman,
Frank Butler, and Preston Sturges, the screen play ; Elliott
Nugent directed it, and Paul Jones produced it. In the cast
are Ernest Cossart, Sig Rumann, Paul Harvey, and others.
Suitability, Class A.
"Whispering Enemies" with Jack Holt
and Dolores Costello
(Columbia, March 24; time, 63 min.)
An unpleasant program melodrama. Although there is
plentiful action, the doings of the characters are not such
as to win one's sympathy. The hero's part is particularly
unpleasant, for he is put in the position of a villain. Even
though an effort is made to justify his actions, one cannot
sympathize with him. The closing scenes, which take place
in a prison, hold one in fair suspense : —
When his cosmetic business is ruined by a whispering
campaign started by a rival concern, Jack Holt decides to
use similar methods in order to ruin them. In company with
his former business manager, Holt, under an assumed
name, opens an advertising agency ; his first client is a
cosmetic concern. By means of a whispering campaign
drive, he soon has his client's business soaring, at the same
time bringing to a standstill the business of his former
rival. But he does not stop with just this concern; he ac-
cepts clients in other fields, working on the same basis.
Dolores Costello, owner of the rival cosmetic concern, who
had been abroad and was unaware of what her managers
had done to Holt, returns to find her own business in a bad
way. She obtains a position as one of Holt's operatives and,
when she has sufficient evidence against him, confronts
him ; he then informs her what her concern had done. When
one of Holt's campaigns gets out of hand, he goes to the
District Attorney and gives himself up ; he is tried and
sentenced to prison. After having stopped a prison break,
he is paroled, joining Miss Costello in her business. They
later decide to marry.
John Rawlins and Harold Tarshis wrote the story, and
Gordon Rigby and Tom Kilpatrick, the screen play ; Lewis
D. Collins directed it, and Larry Darmour produced it. In
the cast are Addison Richards, Joseph Crehan, Donald
Briggs, Pert Kelton, and others.
Unsuitable for children. Class B.
"Inside Story" with Michael Whalen
and Jean Rogers
(20//! Century-Fox, March 10 ; time, 60 min.)
A pretty good program melodrama. It holds one's atten-
tion well, for the action is fast and the story, for the most
part, interesting. The first half is somewhat sordid and
demoralizing ; particularly so are the actions of the heroine,
a hostess working at a "clip joint," who is shown openly
stealing money from customers' wallets. But her reforma-
tion in the end, when she tries to make un for her former
actions, is pleasing. Chick Chandler provokes laughter by
his antics : —
Michael Whalen, a newspaper columnist, while intoxi-
cated, writes an article about his being a lonely man. The
article so pleases his editor, that he instructs Wlialen to
follow it up with an article asking the loneliest girl in town
to get in touch with him, so as to arrange to spend the
Christmas holidays in the country, properly chaperoned.
Jean Rogers, who had become involved in the murder of a
customer (John King), who had complained when she had
stolen his money from him, decides to leave town. She
answers Whalen's article and is accepted as the girl to
spend the week-end with him. But Douglas Fowley, owner
of the cafe where she had worked, follows her and forces
her to return to the city. He tries to kill her. When Whalen
learns the truth, he is disgusted for he had believed in Miss
Rogers. But Miss Rogers promises to help him convict
Fowley. At the trial, however, she testifies for Fowley,
winning his release. She had done this just to help Whalen
get more evidence he needed. Kventuully Whalen discovers
where King's body had been hidden; Fowley follows him
there. But with the help of two women who lived next door
to the hideout, Whalen is able to overpower Fowley. Fow-
ley is arrested and Miss Rogers' name cleared. She and
Whalen go back to the farm to si>end an uninterrupted New
Year's week-end there.
Ben Ames Williams wrote the story, and Jerry Cady. the
screen play ; Ricardo Cortex directed it, and Howard J.
Green produced it. In the cast are Jane Darwell, June Gale,
Spencer C harters, and others.
Not for children. Class B.
'14
HARRISON'S REPORTS
March 18, 1939
"The first round of the legal fight/' says the
paper, "was won when the court denied a motion
by the defendants for a bill of particulars. The
judge indicated he thought the move was an attempt
to stall proceedings."
Mr. Fried's move is just what this paper has been
advocating for many years — that sufferers from
such discrimination should take the public into
their confidence with a view to enlisting their sup-
port. By so doing, they may benefit, not only mor-
ally, but also financially : when an exhibitor arouses
the public against an abuse and rallies it to fight
with him, they cannot help attending the perform-
ances of his theatre and keeping away from the
performances of the offending theatre. And an
independent exhibitor has a wealth of reasonable
argument why the public should line up with him
in his fight against such opposition.
If your local situation is similar to that of Mr.
Fried, write to the Bryn Mawr Business Associa-
tion and obtain a copy of the resolution they have
passed in his support, as well as whatever other
information it can give you, and present them to
vour local association with a view to enlisting their
support. A move such as this should prove bene-
ficial even if you do not intend to bring suit for
restraint of trade.
The producers should get out of exhibition in
small towns.
A STRONG BLAST AGAINST
CENSORSHIP
It was not so wise for the Censorship Commis-
sioner of New York State to ban " Yes, My Darling
Daughter!'' as the subsequent action of the Board
of Regents proved, for this Board, after suggesting
some eliminations, which were made, passed the
picture.
But censors must do something to show that they
deserve the salary they get from their states, and to
justify their existence.
Grasping the opportunity to point out to the
American public how inconsistent with American
liberties is censorship, Mr. Martin Starr, that en-
terprising commentator of motion pictures over the
WMCA radio station, arranged for an anti-censor-
ship symposium over that station; it was held at
four o'clock on the afternoon of Wednesday,
March 1. Messrs. Harry Brandt, the independent
exhibitor, owner of a large number of theatres in
and around New York, and Chester B. Bahn, for-
merly of the Syracuse Herald, and now editor of
Film Daily, were the chief speakers. The writer,
too, spoke his piece.
.According to Mr. Starr, the anti-censorship ti-
rade was received by the public, as well as by the
motion picture industry, well. For this, Mr. Stan-
deserves the thanks of the independent theatre
owners, who, after all, foot the bill of the censor-
ship cost, even though indirectly.
Censorship is foreign to the character of Amer-
icans, for it gives an individual the powers of a
dictator, and allows him to assume to speak for the
people of an entire state, even though numberless
residents of that state may be far superior to him in
intelligence.
Censorship is an anachronism, and should be
taken off the statute books, not only of this State,
but of every other state where it exists.
THE ANNUAL ALLIED CONVENTION
TO BE HELD IN MINNEAPOLIS
At the recent meeting of the Allied board of di-
rectors in Washington, it was voted unanimously
that the next annual Allied convention be held in
Minneapolis.
No date was set, but in all probability it will be
held in the first half of June.
This year the gathering of the independent thea-
tre owners to hear what the Allied leaders have
done since last year's convention, and what they
propose to do in the future, will have special sig-
nificance, for they will have much of great interest
to report.
There is the adjudication of the question of pro-
tection or clearance by the highest court of the land,
when it is employed to protect the big circuits in
their efforts to destroy independent competition :
No circuit can again demand of the producers that
they refuse to sell their product to subsequent-run
theatres unless such theatres charge a price dictated
by them ; or that they forbid the independents from
showing two features on the same bill, for the U. S.
Supreme Court has, by its recent decision in the
Dallas case, outlawed the granting of such de-
mands. There is the Government suit, now pending
in the Federal District Court, in New York City.
There is the matter of theatre divorce legislation,
particularly the case of the State of North Dakota.
.And there is the question of trade reforms, which
seem to have bogged hopelessly.
You should make your plans to attend that con-
vention now. If you miss it, you will have done
yourself an injustice, for it will probably be the
most enthusiastic convention that you will have
ever attended.
CORRECTING WRONG TRADE
PAPER IMPLICATIONS
Col. I I. A. Cole, president of Allied States Asso-
ciation, issued the following statement on March
10, while in New York :
"Since casual remarks made in conversations
with trade paper representatives have been misin-
terpreted, it becomes necessary that a formal state-
ment to clarify my position be made.
"I certainly have not stated that Allied's position
is one of 'no further negotiation.' I did state that,
since the Distributor representatives had said at
various times of late that they could go no farther
in the matter of concessions, there was no further
need at this time for further conversations between
our Committee and theirs ; also that the authority
of our Committee lapsed as of March 1st by resolu-
tion of our Board. I did not state that our Counsel,
Mr. Myers, would not visit New York to confer
with the distributors' attorneys, regarding the
wording of proposals made, but did state that I
knew of no specific date set for such a meeting.
"After all these years, Allied's position on nego-
tiation should be well known. We stand ready at
any time to negotiate with those in authority re-
garding fair trade practices, if and when there is
definite reason to believe that substantial results
can be obtained warranting the time and effort
expended."
Entered as second-class matter January 4, 1921, at the post office at New York, New York, under the act of March 3, 1879.
Harrison's Reports
Yearly Subscription Rates: 1270 SIXTH AVENUE Published Weekly by
United States $15.00 T>^m 1 «1 O Harrison's Reports, Inc.,
U. S. Insular Possessions. 16.50 ROOH1 lOl^ Publisher
Canada 16.50 New York, N, Y. P. S. HARRISON, Editor
Mexico, Cuba, Spain 16.50 . „_ . __. „ .
Great Britain 15 75 A Matlon Picture Reviewing Service
Australia, New" Zealand.' Devoted Chiefly to the Interests of the Exhibitors Established July 1, 1919
India, Europe, Asia .... 17.50
,r_ „ rvi™ Its Editorial Policy: No Problem Too Big for Its Editorial Circle 7-4622
jdc a. <_opy Columns, if It is to Benefit the Exhibitor.
A REVIEWING SERVICE FREE FROM THE INFLUENCE OF FILM ADVERTISING
Vol. XXI SATURDAY, MARCH 25, 1939 No. 12
TELEVISION HAS ARRIVED
By the time you read this article, the Radio Corporation
of America will have, I am sure, started selling television
sets, and on April 30 the National Broadcasting Company
will begin in the New York area their announced schedule
of television broadcasts of a minimum of two hours weekly.
How quickly such service will be started in other areas will
depend largely on the success it attains in this area.
It is difficult to foretell just how the coming television ser-
vice to the home will fit into the scheme of picture-theatre
entertainment ; but one fact is certain : television is here.
An opinion as to what the producers' attitude towards
television should be was expressed in the fifth and last
article of the television series, which appeared in the
January seventh issue of Harrison's Reports; it may be
re-expressed in two words : better pictures. The question
now is what the attitude of the exhibitors should be. In the
opinion of this paper, the logical attitude of the exhibitors
should be to try to profit from it. In the early months, tele-
vision's novelty value to the public will, in all probability,
run high. For this reason, any lobby tie-in with it should
prove successful. A television receiver might be installed
in your lobby by arrangement with your nearest radio-
receiver dealer, who no doubt plans to handle also tele-
vision receivers.
This paper cannot advise you on the question of installing
a television receiver into the theatre itself, for this would
come under the heading of charging an admission price for
television entertainment. This fact naturally involves legal
questions that will not have been aired in the early stages
of television activities. Six or eight months from now these
may be settled, and you may be able to take a greater ad-
vantage of this invention. But right now vou should be
content with lobby tie-ins. Perhaps it will be such tie-ins
that will eventually identify the relationship of the two
entertainments, television and motion pictures.
THE MORSE & ROTHENBERG SUIT
AGAINST THE MAJORS IN BOSTON
In the last ten weeks there has been held before Master
Philip A. Hendrick, at the Federal Building, in Boston, the
suit that Messrs. Morse and Rothenberg, of the M & R
Amusement Co., have brought against the major distribu-
tors for the violation of the anti-trust law, seeking $2,100,-
000 damages. Mr. George S. Ryan, of Boston, is the attor-
ney for the plaintiffs. Mr. Ryan is the attorney who won
the case of E. M. Loew against Paramount at the time
Paramount was in receivership. Mr. Ryan is now attorney
also for Mr. A. B. Momand and for other exhibitors, in
Boston as well as elsewhere. The suit is not yet over.
At frequent intervals last year, Mr. Ryan was in New
York taking depositions of the defendants, and thus was
able to bring to light much valuable evidence.
At the opening session before the Master the last days of
December, the prosecution entered among the first exhibits
a telegram dated July 30, 1930, sent by Mr. C. C. Pettijohn
to Martha W. Ferris, secretary of the Film Board of
Trade of Boston, reading as follows :
"There is no doubt about the legality of basing protec-
tion first-runs on admission prices."
It was, of course, the substance of a belief that prevailed
at that time; but subsequent court decisions destroyed that
belief.
The plaintiff's chief complaint was the fact that lie could
not obtain film of any run. "For the season 1930-31," Mr.
Ryan stated, "the plaintiff had no difficulty whatever in
buying all the major product second-run, except Para-
mount. . . . The distributors were generally glad to get this
additional revenue. . . .
"It so happened, however, that, during the first year,
1930-31, the plaintiff received his pictures very late. It was
not able to get them until at least six months after first
run. ..."
Mr. Ryan attributed the long protection established to
the fact that his client had as competitor the Maine & New
Hampshire Theatre Co., which took such an unusual step
so as to destroy the business of the plaintiff ; also the fol-
lowing step :
"In February, 1931," Mr. Ryan stated, "they opened up
the Portsmouth Theatre . . . that had been closed. ... It
was kept closed when there were only two theatres open.
But now, with three theatres open, it is opened. It ran from
February to June, 1931, at prices of 10 cents for matinee
and 10 cents for evening.
"It ran on second run product of the major distributors.
As a result . . . the plaintiff was forced to operate not
second run but third run. ... Its prices, Your Honor will
note, were even lower than the prices of the plaintiff. . . . "
Mr. Ryan anticipated the defense by calling the Master's
attention to the fact that, although the defendants would
point to the plaintiff's low-admission prices as a reason for
their refusal to sell to the plaintiff, yet they sold to the
M & N H Theatre Co. second-run product at the Ports-
mouth to be shown at 10 cents for matinees and 10 cents and
15 cents for evening performances.
"I doubt if the Maine and New Hampshire Theatre Co.
ever operated a theatre at such low prices except with the
purpose of injuring a competitor. In the anti-trust laws, if
Your Honor please, the resort to price-cutting to eliminate
competition is well known. ..."
Mr. Ryan then proceeded to inform the Master that the
majors, during the 1931-32 season, refused to sell them any
run of pictures whatever, and that they would not give any
bona fide excuse for their refusal.
This paper intends to print whatever important breaches
of good business ethics may have been or yet be revealed at
this hearing. Wide publicity given to unethical business
practices tends to eradicate them.
UNITED ARTISTS' HOME OFFICE
DOES NOT APPROVE CONTRACT
ALTERATIONS
In last week's issue there was reproduced from the
Service Bulletin of Independent Theatre Owners of Ohio
an article dealing with the alteration of a contract of an
Ohio exhibitor by some United Artists executive after the
exhibitor had signed it, and without his approval, calling
upon United Artists to offer to the exhibitors of the United
States an explanation.
Last week I had a talk with a Home Office executive
and am in a position to assure you that United Artists had
not approved, do not approve, and will not approve any
contract alteration without the exhibitor's consent. They
felt hurt deeply al>out the incident and, even though the
responsible salesman made the alteration without any in-
tention to defraud, they discharged him forthwith. This
executive said to me : "We don't want in our employ any
man who will cause the company so much humiliation."
They are not the exact words, hut the spirit is the same.
Harrison's Rkports takes this opportunity of commend-
ing United Artists for the promptness with which thev
have acted in this matter to avoid misunderstandings with
the exhibitors.
46
HARRISON'S REPORTS
March 25, 1939
"The Little Princess" with Shirley Temple,
Richard Greene and Anita Louise
(20//» Century-Fax, March 17; time, 91 mm.)
Very goud. Lavishly produced, with technicolor photog-
raphy, this is the type of story that suits Shirley's talents
excellently. Although the story is sentimental, it has human
interest and delightlul comedy ; and the few musical inter-
ludes round it out as entertainment that should thrill chil-
dren and please adults. Shirley has been surrounded by
capable players; particularly appealing is Sybil Jason, as
a cockney slavey who worships Shirley. One of the most
delightful scenes is that in which Shirley, who had gone to
bed cold and hungry, and had dreamed that she was a prin-
cess, awakes to rind her garret room filled with beautiful
things and a table set with hot food. The closing scenes are
somewhat drawn out, in an effort to keep the spectator
excited, but they end in a way to please one : —
Ian Hunter, a British Army Captain, leaves his mother-
less daughter (Shirley) at an expensive boarding school to
London, for he had to go to the Boer War. Being extremely
wealthy, he instructs the schoolmistress (Mary Nash) to
give Shirley the best of care, regardless of expense. Shirley
i« nicknamed "The Princess." When word reaches Miss
Nash that Hunter had been killed and that no funds were
available, she takes away Shirley's clothes and forces her
to leave her comfortable room for a garret room, which was
cold and dismal, compelling her to work. Refusing to be-
lieve that her father was dead, Shirley pays daily visits to
the veterans' hospital, looking for him. Arthur Treacher,
Miss Nash's brother, who was an orderly at the hospital,
helps her in her search. Her only friend was Anita Louise,
a former teacher at the school, who had been dismissed
when Miss Nash misjudged her friendship with Richard
Greene, grandson of wealthy Miles Mander, the nextdoor
neighbor; Miss Nash did not know that the young couple
were married. Mander, who had heard from his Hindu
servant (Cesar Romero) of Shirley's plight, fills her garret
room with beautiful things while she was asleep. Miss
Nash, thinking that Shirley had stolen the things, sends for
the police. But Shirley escapes and rushes to the hospital.
There, after a hectic time, she finds her father, who had
lost his memory. The sight of Shirley and the sound of her
voice restores his memory ; and there is a joyful reunion.
Frances H. Burnett wrote the story, and Ethel Hill and
Walter Ferris, the screen play ; Walter Lang directed it,
and Gene Markey produced it. In the cast are Marcia Mae
Jones, Beryl Mercer, E. E. Give, and others.
Suitability, Class A.
"Risky Business" with George Murphy
and Dorothea Kent
{Universal, March 3; time, 67 win.)
A pretty good program melodrama. Produced in 1932
under the title "Okay America," it is now, as it was then, a
fairly engrossing story, holding one's interest well. It is
more dramatic than the usual columnist-gangster plot, for
it does not go in for flippant wisecracks; instead, it centers
around the hero's courage in endangering his life in order
to protect an innocent girl who had been kidnapped by
gangsters. The fact that in the end he meets with death at
the hands of the gangsters touches one deeply, since he is
so likeable a character. The romance is minimized : —
George Murphy, a newspaper columnist and radio com-
mentator, visits a prominent gangster (Leon Ames), sup-
posedly retired, in an effort to obtain from him information
as to the whereabouts of the kidnapped daughter of a promi-
nent motion picture producer. From what Ames says.
Murphy realizes that he had the girl. He makes a deal
whereby he would turn over to him $50,000 for the girl's
release. Murphy convinces the girl's father of his relia-
bility. The money is delivered as arranged, hut the gang-
sters double-cross Murphy ; they do not release the girl.
Upon visiting them, he learns that money was not the ob-
ject; the real purpose was to protect Eduardo Ciannelli,
the gangster leader, who was to be tried by the State. Cian-
nelli tells Murphy that, if he would intercede with the Gov-
ernor to go easy with him. he would release the girl. The
Governor refuses to do so; hut Murphy leads Ciannelli to
believe that he had so agreed. Ciannelli releases the rnrl ;
when Murphy knows that she was safe, he tells Ciannelli
the truth, and then is forced to kill him in self defense; he
escapes. While broadcasting the facts of the case, Murphy
is killed by the gangster's henchmen, who were in the
audience.
William A. McGuire wrote the story, and Charles Gray-
son, the screen play ; Arthur Luhin directed it, and Burt
Kelly produced it. In the cast are El Brendel, John Wray,
Aruthur Loft, Frances Robinson, and others.
Not suitable for children. Adult fare. Class B.
"Mr. Moto in Danger Island" with
Peter Lorre, Jean Hersholt
and Warren Hymer
(20//i Century-Fox, April 7; time, 69 min.)
. One of the better pictures in the Moto series. The action
is pretty exciting, holding one in suspense throughout.
Peter Lorre plays the part of the detective in his usual
competent way, thrilling one by his daring and cleverness
in outwitting criminals ; and he has been given a good sup-
porting cast. Although the plot is far-fetched, it is never
dull ; the fact that the leader's identity is not revealed until
the end keeps the spectator interested. Warren Hymer pro-
vides some good comedy. A mildly pleasant romance is
worked into the plot : —
Lorre arrives at Porto Rico as special investigator for
American diamond dealers, who wanted him to get at the
source of the diamond-smuggling racket that was emanat-
ing from Porto Rico. No sooner does Lorre arrive than an
attempt is made to kill him in a manner similar to that in
which his predecessor had been killed. But Lorre, with the
help of Hymer, a rather stupid wrestler who had attached
himself to him, outwits the gangsters and escapes. Other
attempts are made to kiil him, but he escapes. Feeling sorry
for the police chief (Charles D. Brown), whose health had
broken down because of his inability to cope with the smug-
glers, Lorre assures Brown's daughter (Amanda Duff)
that he would help her father. In order to get in with the
gang, Lorre sends a false report to the Commissioner, in
which he stated that he (Lorre) was a criminal posing as
the famous detective. He manages to get to the smugglers'
hideout, where he finds Brown and h:s daughter, who had
been kidnapped. But the smugglers learn that he was really
the detective, and they arrange to kill him. Again he es-
capes, but this time with the information he needed. He dis-
closes that the leader was Jean Hersholt, a respected busi-
ness man of the community. Brown is happy that the case
had been solved. And his daughter turns her attentions to
Robert Lowery, who loved her.
John W. Vandercook wrote the novel from which the
story ideas by John Reinhardt and George Bricker were
adapted; Peter Milne wrote the screen play, Herbert I.
Leeds directed it, and John Stone produced it. In the cast
are Richard Lane, Leon Ames, Douglas Dumbrille, Paul
Harvey, and others.
Suitability, Class A.
"King of Chinatown" with Akim Tamiroff,
Anna May Wong and J. Carrol Naish
(Paramount, March 17; time, 56 min.)
Just a moderately entertaining program melodrama. The
performances are superior to the story values, and are the
main reason for one's interest in the picture. Otherwise, it
is just another gangster melodrama, lacking the excitement
one expects in pictures of this type. It starts out pretty
well, but as it develops it loses its fast pace, for it turns to
romance. An effort is made to arouse sympathy for the
leading character, a gangster, by showing that his love for
a woman had regenerated him. But, remembering his ac-
tions at the beginning of the picture, one cannot feel much
sympathy for him ; moreover, the romance is unbelievable :
Akim. Tamiroff. head of a gang of racketeers who were
terrorizing the Chinatown district merchants by forcing
them to.doin a protective association, refuses to listen to
the schemes of his bookkeeper (J. Carrol Naish) to go into
other .fields in order to make more money. When he gives
orders to Naish to have Anthony Quinn, a racketeer who
had double-crossed him, killed, Naish decides to do other-
wise. Instead of killing Quinn, he plots with him to kill
Tamiroff so that they could take over the business. They
shoot Tamiroff, but do not kill him ; he is rushed to the
hospital, where Anna May Wong, a surgeon, operates on
him and saves his life. Knowing how her father had hated
Tamiroff, she feared lest he had committed the shooting;
she later learns that he was innocent. Tamiroff insists that
she personally take care of him. During his illness, Naish
and Quinn run the business along gangster lines, causing
many deaths. When Tamiroff is ready to go home, he in-
duces Miss Wong to accompany him there. Under her in-
fluence, he changes for the better. He asks her to marry
him, offering to live a decent life; but she refuses, for she
was set on going to China to do relief work. He gives her
a check for $5,000 to continue with her work. When Naish
confronts him with a gun one night, Tamiroff becomes
excited and suffers a heart attack ; he dies.
Herbert Hibernian wrote the story, and Lillie Hayward
and Irving Reis, the screen play; Nicke Grinde directed it.
In the cast are Roscoe Karns, Bernadene Hayes, Sidney
Toler, Philip Ahn, and others.
Unsuitable for children. Class B.
March 25, 1939
HARRISON'S REPORTS
47
"My Son Is a Criminal" with Alan Baxter,
Jacqueline Wells and Gordon Oliver
(Columbia, February 22; time, 59 min.)
A fair program gangster melodrama, with human ap-
peal. The action is fast and exciting. The situation towards
the end where a father is compelled to kill his own son, a
criminal, in order to prevent him from harming others is
quite powerful. This scene is played by Willard Robertson,
as the father, and Alan Baxter, as the son, with artistry ;
they touch one's heartstrings. The plot is developed logi-
cally ; it has a romantic touch, and only slight comic relief :
Robertson, upon retiring from police service, tells his son
(Baxter) that he was looking forward to the day when he
would join the force. Baxter keeps putting him off with the
excuse that, when his garage was on a better paying basis,
he might consider becoming a policeman. But Baxter, un-
known to his father, was carrying on a life of crime, using
the garage as a front. In a clever way, he obtains informa-
tion about police activities, without any one's suspecting
him. Even Jacqueline Wells, his fiance, was unaware of
Baxter's doings. But Gordon Oliver, Baxter's best friend,
who was connected with the police department, eventually
discovers the truth, and passes the information on to Miss
Wells' father, who had taken Robertson's place. He is
heartbroken, knowing what it would mean to Robertson.
Baxter, who was carrying out his last job before retiring,
looks forward to a life of leisure. But the police surround
the building where the robbery was taking place ; they are
followed there by Robertson who, although retired, wanted
to take a hand in the capture of the notorious criminal.
Being the one who confronts his son, he is compelled to
kill him. Oliver, realizing what a noble thing Robertson
had done, leads every one but Miss Wells and her father to
believe that Baxter had been killed trying to help his
father capture the criminal.
Arthur T. Horman wrote the screen play, and C. C.
Coleman, Jr., directed it. In the cast are Joseph King,
Eddie Laughton, John Tyrrell, and others.
Unsuitable for children. Adult fare. Class B.
"Love Affair" with Irene Dunne
and Charles Boyer
(RKO, April 7 ; time, 88 min.)
Excellent entertainment. It is a romantic drama, directed
and acted with great skill. Starting off in a light mood, it
is highly amusing in the first half, because of the witty
dialogue and of the charming romance. But it gradually
becomes serious, turning into an emotion-stirring drama,
the kind that is certain to cause tears. There are several
memorable situations. One of the most delightful is that in
which Miss Dunne and Boyer visit his grandmother ( Maria
Ouspenskaya) ; the acting by the three performers is so
perfect there that one is touched deeply. The closing scenes
are powerful. Miss Dunne sings two numbers: —
While on her way back from Europe, Miss Dunne, a
sophisticated New Yorker, who was supported in luxury
by her wealthy fiance (Lee Bowman), meets Charles
Boyer, an aristocratic French artist, an idler, who was on
his way to New York to marry wealthy Astrid Allwyn.
After a stopover at Madeira, where Boyer takes Miss
Dunne to meet his charming grandmother, who lived in
seclusion, they suddenly realize that they loved each other.
In order to test their love, they give themselves six months
in which to prove that they could both earn an honest liv-
ing ; they arrange to meet at a certain place at a specified
time. At the appointed time. Miss Dunne, happy, rushes to
meet Boyer; but she meets with an accident, which leaves
her crippled. Not wishing to be a burden to Boyer, she
refuses to permit Bowman to notify him; instead, she goes
on bravely earning a living by teaching music. Boyer,
ignorant of her injury, goes back to ICurope heart-broken,
only to find that his grandmother had died. Upon his return
to New York, he sees Miss Dunne at the theatre with
Bowman and misunderstands ; be still does not know that
she was crippled. Unable to resist the temptation of visit inn
her, he calls on her. While talking to her about his develop-
ment as a painter, he tells her that he had ordered his agent
to give his best painting to a girl who liked it, for she was
poor and crippled. Suddenly it dawns on him that perhaps
she was the girl and, looking into the next room, he finds
the painting. With tears in his eyes, he embraces Miss
Dunne, promising to take care of her.
Mildred McCram and Leo McCarey wrote the story, and
Delmar Daves and Donald Ogden Stewart, the screen play ;
Leo McCarey directed and produced it. In the cast are
Maurice Moscovich, and others.
Suitability, Class A.
"Midnight" with Claudette Colbert
and Don Ameche
(Paramount, March 24; time, 93 min.)
A sophisticated comedy, with an extremely lavish pro-
duction, suitable particularly for the class trade. Consider-
ing the fact that farcical comedies have of late not been
going over so well, its appeal, as to story values, is natu-
rally limited. The popularity of the leading players, who,
incidentally, give excellent performances, may, however,
make it a good box-office attraction. The story itself is far-
fetched, slightly silly in spots, and lacking in human appeal,
for not one of the characters does anything to awaken
sympathy : —
Claudette Colbert arrives from Monte Carlo in Paris
dressed in an evening gown, but without any money ; she
had lost it all gambling. Don Ameche, a taxicab driver,
feeling sorry for her, asks her to get into his cab out of the
rain. In an effort to obtain a position for her as an enter-
tainer, he takes her to several cafes, but without success.
Eventually she runs away from him. While passing a fash-
ionable house where guests were arriving, she decides to
enter, giving a pawnticket instead of an invitation as a
means of admittance. The guard at the door is not aware of
the deception. She introduces herself as a Countess; but
John Barrymore, one of the guests, is wise to her. He helps
her along by paying her gambling debts at a bridge game.
One of the guests (Francis Lederer), a wealthy young
man, who had been having an affair with Barrymore's wife
(Mary Astor), is charmed by Miss Colbert. He offers to
take her home. In Barrymore's presence she gives the name
of a fashionable hotel. YvTien she arrives there, she finds, to
her amazement, that rooms had been reserved for her. And
the next morning, trunks filled with beautiful clothes ar-
rive. Barrymore visits her and explains that he was her
benefactor ; in doing this, his purpose was to have her lure
Lederer away from his wife. They all go to Barrymore's
country estate, where everything works out well, until Miss
Astor, who was jealous, becomes suspicious. Just as she was
to denounce Miss Colbert, Ameche, who had found out
where she had gone, arrives, posing as her titled husband ;
it so happened that he was a distance relative of the man
he was impersonating. He tries to force Miss Colbert to
leave with him, but she refuses, leading every one to believe
that Ameche was subject to fits of insanity. Eventually she
succumbs, giving up her chances to marry wealthy Lederer
in order to marry Ameche.
William H. Post wrote the story, and Don Hartman,
Frank Butler, and Preston Sturges, the screen play ; Elliott
Nugent directed it, and Paul Jones produced it. In the cast
are Elaine Barrie, Rex O'Malley, and Hedda Hopper.
Somewhat suggestive for children. Adult fare. Class B.
"The Mystery of Mr. Wong"
with Boris Karloff
(Monogr am, yiarch 8; timetG7 mm.)
A fairly good program murder-mystery melodrama, with
pretty good production values and capable performances. It
is a straight melodrama, with no comic relief. Even though
one suspects the murderer's identity, one's interest is held,
for he is not identified until the end. The action is fast and
at times exciting. Boris Karloff, continuing in the part of
the Oriental detective, plays it with convinction. The ro-
mantic involvements are of minor importance: —
Karloff, a Chinese detective, guest at the party given by
Morgan Wallace and his wife (Dorothy Tree), offers his
services to the police when Wallace is murdered mysteri-
ously during the playing of a game. Grant Withers, police
inspector, suspects Craig Reynolds, Wallace's secretary,
who was in love with Miss Tree and had resented the way
Wallace had mistreated her. But Karloff is convinced that
Reynolds was innocent. Wallace, who felt that he would be
murdered, had left a letter naming the man who he sus-
pected would kill him; this letter is stolen from the sate by
a Chinese servant. A valuable jewel Wallace had owned
also is missing. Karloff finally solves the case by proving
that Holmes Herbert, a famous criminologist and an old
friend, had committed the murder. Herbert confesses. Miss
Tree, who had considered Herbert a very dear friend, is
heartbroken ; she is comforted by Reynolds.
Hugh Wiley wrote the story, and Scott Darling, the
screen play; William Nigh directed it, and William Lackey
produced it. In the cast are Ivan Lebedeff, Hooper Atchley,
Lee Tong Foo, and others.
Not for children; adult fare. Class B.
48
HARRISON'S REPORTS
March 25, 1939
THE SPEECH ALLIED PRESIDENT
COLE MADE AT THE MGM
SALES CONVENTION
Col. H. A. Cole, president of Allied Slates Association,
was invited by Bill Rodgers, General Manager of Distribu-
tion of Metro-Goldwyn-Mayer, to attend the sales conven-
tion of their organization, which was held in Chicago on
March 21, and was naturally asked to speak.
W hat Mr. Cole said there was so sensible that HARRI-
SON'S Repokts has decided to reproduce his entire speech,
even though it is compelled to print it in two installments
because of lack of space ; it feels that, not only the exhibi-
tors, but also the distributors will profit from reading and
digesting it :
"In view of what has taken place in the motion picture
industry during the past ten years, it is a notable occasion
when the President of Allied Stales Association addresses
the sales convention of one of the foremost producing and
distributing companies. That this should be regarded as
unusual instead of commonplace is the result of an unfortu-
nate misunderstanding regarding the policies and objectives
of Allied which in turn is due to lack of contact I doubt
whether I would have been invited here today if it had not
been that Bill Rodgers and I have been sitting at the con-
ference table in recent months. Our minds may not have
met on all the problems that the conference attempted to
deal with, it may be that some of us wish the conference
could have dealt with additional and more fundamental
problems, but we did get acquainted. The walls of Jericho
began to crumble when Bill addressed our national conven-
tion in Pittsburgh last May ; there was a breach in the
walls when Bill came before our Board of Directors in
January ; I had no difficulty in gaining admittance to the
Metro citadel today.
"It is no secret that when Allied was formed ten years
ago certain elements among — but not of — the producer-
distributors, finding that they could not dominate the new
exhibitor organization, sought to insulate the company
executives against all contact with the Allied leaders. It
suited their selfish purpose that those executives should
form their estimates of Allied and Allied leaders, not from
first-hand information but from reports, rumors and slan-
ders which they — the politicians — conveyed to them. Conse-
quently, Allied leaders have been belabored with such
epithets as 'reds,' 'radicals' and 'soap-box orators' and
liave been denounced as destructive, untrustworthy and
otherw-ise undeserving of consideration. I had supposed that
after ten years of yelling across the ramparts, the supply
of names had been exhausted, but the latest to emanate
from the concentration camp of the bitter-enders is 'sav-
ages.' I would like to live up to this name and entertain
you with a war-whoop, but actually I am a very mild-
mannered person.
"Now the reaction to this quarantine and to all the abuse,
was swift and certain. Allied leaders found that the door to
the throne room was closed to them and that there was no
redress for grievances. They were men of spirit and each
obstacle placed in their path made them all the more deter-
mined. Hearing from the industry politicians that they
would never be 'recognized,' they set up a little revolu-
tion in the streets. Patriotic Americans will recall an his-
toric precedent for this. Since it was apparent that they
would have to fight, they entered the fray with a will, and
no one will say that they pulled their punches. In the matter
of name-calling, they abundantly held up their end. In fact,
some of them displayed talents which they did not them-
selves know they possessed. Thus were ten long years
frittered away : ten trying years which called for the free
exercise of all the ability and experience that could be mus-
tered in all branches of the industry ; ten years during
which team work and cooperation would have saved the
industry from its present precarious situation.
"Tiie pity of it is that the bitter experiences of the doleful
decade have made the task of appeasement so much more
difficult. Privileges based on economic power have come to
be regarded as matters of right. Suspicion and distrust bred
by lack of contact and understanding and fostered by abuse
and misrepresentation arc not lightly shed. If Rome was
not built in a day, neither can it be rebuilt in a day. De-
votees of the old order still snap at the heels of those who
would bring about a better understanding. It is hard to
maintain confidence at a disarmament conference while one
party is secretly scuttling the ships of the other party. The
task of reconciliation is much more difficult than it would
have been a few years ago and, in the minds of some, the
effort is not being pressed with the determination or in the
spirit that they had hoped for. But all must agree that the
experiment is worth making; that it is a step in the right
direction.
"The mere fact that I as the president of Allied am here
today is in itself cogent evidence that the foolish barriers
that were erected in 1929 are being broken down. Let the
authors of the old order, the promoters of hatred and dis-
trust, sulk in their tents; they can not prevent the new era
of confidence, mutual respect and cooperation which will
come, sooner or later, whether they like it or not.
"One of the serious obstacles to a better understanding is
that during the era of bad feeling labels were pinned on
certain persons and organizations, and these persist. The
politicians were so industrious in pinning the red label on
Allied that some company executives have professed to
believe tliat it was rightly bestowed. The lightest utter-
ances of Allied spokesmen often are given an interpretation
which conforms to pre-conceived characterizations. Re-
cently in an informal conversation regarding the decision
of the Supreme Court in the Interstate Case, I suggested
that it might he a good idea to recorsider the entire pro-
tection situation in the light of that decision. I even sug-
gested tliat we might start at the very beginning and con-
sider whether protection />er se is a good tiling. These were
gambits intended to promote and lend animation to the
discussion. 1 was shocked to read in the trade press that I
had advocated the abolition of all protection. Next I began
to receive letters protesting against the proposed campaign
by Allied to abolish all protection. Finally (and this illus-
trates the point), I read in the trade papers that I had
repeated my supposed declaration ag..it st all protection in
my recent speech before a group of women in Boston, al-
though I did not once refer to tliat subject in the course of
my address.
"I want to say to you with all the force I can command
that Allied has not been a radical or a destructive element
in this business. Calvin Coolidge — no radical — once advised
the younger generation that it sfruld ttot hesitate to be
'as conservative as the multiplication table or as radical as
science.' I say to you that Allied has I>een 'as conservative
as the chamber of commerce and as radical as the laws and
policies of the United States.' In spite of all the rames that
have been hurled at our heads, 1 challenge anyone to cite
an instance where we have advocated measures that were
not necessary to Jar the producer-distributors out of their
isolation and indifference in order that admitted abuses
might be remedied, or where Allied has not had a construc-
tive program to offer in lieu if the policies and practices
attacked.
"History teaches that progress follows in the wake of
what has invariably been termed 'agitation.' The roster of
the world's greatest leaders is made up of so-called agita-
tors. Conspicuously missing are the names of those who
resisted all progress and made no greater contribution than
to heap abuse on the heads of those who pleaded for a
better order. Of course, th'- merit which an 'agitator' may
obtain depends upon the v. orth of the cause he espouses. I
think that the cause of the independent exhibitors is a
worthy one ; that when our objectives are achieved, re-
gardless of the means, the industry as a whole will be the
beneficiary. It is no small satisfaction and comfort to us
that otir cause has been championed by the Government
which we all love and which we all agree is the noblest
that ever has been devised.
"But I was not invited, nor d'd I come, to talk generali-
ties. Let me, therefore, discuss a few of the practical prob-
lems in which you as sellers of motion pictures and I as a
buyer are interested. In our respective relationships we are
immediately confronted by a clash of interest. You want to
sell for as much and I want to buy for as little as possible.
This is inescapable and, if held within due bounds, is
healthful. It is the life of trade. But for this civilized form
of warfare to be waged with the best results, it is necessary
that both parties be free agents. The law recognizes that
when one party to a supposed contract has been induced to
sign by fraud, coercion or duress, there is no contract. The
abused party can not be held. But if he must have the prod-
ucts that are the subjects of the contract, if he can not get
them elsewhere under better terms, then the coercion and
duress may be very real and yet he can not repudiate the
contract because to do so he would have to forego the
products which he must have.
(To be concluded next uvck)
Entered as second-class matter January 4, 1921, at the post office at New York, New York, under the act of March 2, 1S79.
Harrison's Reports
Yearly Subscription Rates: 1270 SIXTH AVENUE Published Weekly by
United States $15.00 p 1 Q1 9 Harrison's Reports, Inc.,
U. S. Insular Possessions. 16.50 KOOm 1S1£ Publisher
Canada 16-50 New York, N. Y. p. s. Harrison. Editor
Mexico, Cuba, Spain 1C.50 . • . •
Great Britain 15 75 A Motlon Picture Reviewing Service
Australia, New Zealand, Devoted Chiefly to the Interests of the Exhibitors Established July 1, 1819
India, Europe, Asia .... 17.50
35c a Copy Its Editorial Policy: No Problem Too Big for Its Editorial Circle 7-4622
Columns, if It is to Benefit the Exhibitor.
A REVIEWING SERVICE FREE FROM THE INFLUENCE OF FILM ADVERTISING
Vol. XXI SATURDAY, APRIL 1, 1939 No. 13
WILL YOU AID THE GOVERNMENT
WITH THE INFORMATION IT
NEEDS FOR THE SUIT?
I happened to be reading the other day a transcript of the
testimony at the trial of the case brought by Paramount
against the State of North Dakota to nullify the Theatre
Divorce Law, and I was so struck by the testimony of Mr.
Austin Keough, Paramount attorney, who was one of the
witnesses, that I decided to reproduce part of it. I believe
that it should be of interest to every independent tlieatre
owner, for it indicates how some major executives feel
about exhibitors who make an attempt to protect what they
feel are their rights (a few preliminary questions and an-
swers are omitted) :
"A. [Keough] . . . Between that date [December 27,
1923] and September, 1929, Paramount had no interest in
the Saenger Amusement Company or any other Saenger
Company. Sometime between 1923 and 1929, September
1929, the Saenger Company acquired a 50 per cent interest
in the stock of the Jefferson Amusement Company. I don't
believe that the Saenger Company had that 50 per cent
interest in the Jefferson Amusement Company at the time
between 1919 or 1920, and 1923, when Paramount had its
first interest (40%) in the Saenger Company.
"Q. [Thacher, representing Paramount, the plaintiff.]
You had personal knowledge of these transactions when
they occurred?
"A. I did.
"Q. As counsel for the company ?
"A. As counsel for the company, and in handling, in the
first place, the disposition of the 40 per cent interest back
to the Saenger Company, or its other stockholders, and
later in the acquisition by Paramount of the stock of the
Saegner Amusement Company in 1929.
"Q. There lias been some testimony in regard to a situa-
tion in Victoria. Did you have any knowledge of the first
acquisition that Colonel Cole testified to?
"A. I did.
"Q. Will you state what that situation was?
"A. In the year 1931, that is the best recollection I have
of the precise time, the Jefferson Amusement Company in
which then Paramount had a 50 per cent interest through
the Paramount ownership of practically all of the stock of
the Saenger Amusement Company, without the knowledge
or consent of anyone representing Paramount or the Saen-
ger Theatres, went into Victoria and acquired a theatre and
started to operate it. Paramount learned of that promptly
after it had occurred. Paraniount's general sales manager,
Mr. George Schaefer, immediately conferred with me as
counsel for Paramount, about the right of the Jefferson
Amusement Company to go into such a town, or go into
any town without the approval of the Hoard of Directors
of the company, the Jefferson Amusement Company, and,
further, as to the right of Paramount to distribute its pic-
tures to such theatre in Victoria as it wished to do, and
as a result of that conference with me, Mr. Schaefer, in
collaboration with me, addressed a letter to Messrs.
Cordon & Clemens, declaring our displeasure of going into
the town and announcing we were going to continue to
serve Mr. Frels with Paramount pictures in Victoria.
"Q. Were Gordon & Clemens managing the Jefferson
Company ?
"A. They were to have out four directors and one was
the president and the other the chairman of the board of
directors and they were the stockholders of the other 50
per cent interest. [P'ditor's Note: Answer not clear.]
"Q. And you continued to furnish Paramount Pictures
to Mr. Frels until when ?
"A. For two full seasons after that. I think the last time
was beginning with the season of 1933-34, when we didn't
sell Paramount Pictures to Frels out in Victoria.
"Q. Have you any personal knowledge as to the reason
why you didn't ?
"A. Again by conference with Mr. George Schaefer, the
suit of Legg against various companies, including Para-
mount, had been started, and we were informed that Mr.
Frels had participated in the planning of the suit and in its
financing, and we felt that that was a very ungrateful thing
for him to do to Paramount, and we decided not to sell him
the pictures.
"Q. After that experience did you and Mr. Schaefer
regard him as a desirable customer?
"A. We regarded him as an ungrateful customer.
"Q. I said, did you regard him as a desirable customer?
"A. In the sense that we thought him ungrateful we felt
that he was not a desirable customer to do business with."
Judge Devaney, attorney for the Minnesota exhibitor
organization, representing the State of North Dakota,
cross-examined Mr. Keough. After asking several ques-
tions, he led him up to the following:
"Q- [Judge Devaney] Because Mr. Frels had had the
temerity to contribute to that suit, that was such an inci-
dent of ingratitude that compelled you to discontinue doing
business with him at Victoria, is that true or false?
"A. [Austin Keough] Contribute to the suit, under the
circumstances, when he should have known that the charges
against Paramount, with whom he was doing business,
were false.
"Q. You wanted him to pre-judge that?
"A. I wanted him to be a little careful about what he
rushed into court with.
"Q. It is purely a question of these men with whom you
do business being careful with Paramount.
"A. Oh, no, not to be careful with Paramount, but to be
careful of reckless statements or untrue statements that arc
made concerning Paramount.
"Q. And to be careful not to incur the displeasure of
Paramount ?
"A. If displeasure of Paramount is incurred because of
false and reckless statements, yes 1
"Q. You concluded that Mr. Frels had made some state-
ments that were either reckless or false, and you shut off
this source of supply that he had enjoyed at Victoria,
Texas, for many years?
"A. Quite right.
"Q. You heard the statement made in the court room
here that many exhibitors had contributed to this litigation,
did you?
"A. Yes.
"Mr. Dkvanv: That is all.
"Mk. Thacher: That is all."
Though the object of Mr. Keotighs testimony was to
prove to the Court that the film service was shut oil from
Mr. Frels. not because Paramount is a monopoly, but be-
cause Mr. Frels proved ungrateful, what was really dis-
closed was the fact that a moving picture wholesaler, who
at the same time is a retailer, competing with his customer,
has it in his power to put that customer out of business, by
merely shutting off his film service.
(Continued on last paye)
50
HARRISON'S REPORTS
April 1, 1939
"Sudden Money" with Charlie Ruggles
and Marjorie Rambeau
(Paramount, March 31 ; time, 60 min.)
Just a mildly entertaining program comedy. The story is
so thin that after the first half it peters out, turning into a
silly comedy. The idea is all right — that of several members
of a family trying to follow their particular talents after
they win a sweepstakes prize ; but the means they choose to
express themselves are bad — they are silly. For instance, the
mother (Marjorie Rambeau) takes to painting, at which
she is quite terrible. She lets herself be influenced by two
crooks, who eventually steal her share of the winnings. The
father (Charlie Ruggles) finds his old college friends and
forms a band. They are so bad that they cannot obtain en-
gagements, and so he is compelled to pay their salaries.
When they finally do get an engagement, a gangster, mis-
taking Ruggles' interest in the young lady who sang with
his band, beats him up and puts an end to the job. Then
Ruggles puts up bail of $2,500 for John Gallaudet, one of
his players, who was wanted by the police; Gallaudet then
runs away. Ruggles' money is all gone. His brother-in-law
(Broderick Crawford), who thought he had a good system
on horse-betting, soon loses his share. And Ruggles' young
daughter, who had gone to an expensive finishing school,
spends all her money. In a way they are all happy when the
money is gone, for their lives had been disrupted by sudden
wealth. They go back to their ordinary tasks and do not
complain.
. Milton Lazarus wrote the story, and Lewis Foster, the
screen play; Nick Grinde directed it, and Wm. C. Thomas
produced it. In the cast are Charley Grapewin, Billy Lee,
Evelyn Keyes, Philip Warren, Joyce Mathews, and Richard
Tucker.
Suitability, Class A.
"Hound of the Baskervilles" with
Richard Greene, Basil Rathbone
and Wendy Barrie
(20//; Century-Fox , March 31 ; time, 79 min.)
A pretty good Sherlock Holmes melodrama. Produced
twice before, once in 1922 and again in 1932, it still offers
entertainment for followers of murder mysteries. The pro-
duction values are, of course, superior to those of the other
two pictures. The background (that of the lonely British
moors ) , creates an eerie atmosphere, so that each time a
character wanders out of the house for a walk, one is held
in suspense, not knowing what to expect. Although one
suspects the murderer's identity, this does not lessen one's
interest, for along with him there are several other suspi-
cious characters. It is in the ending, however, that the action
causes tense excitement. The scenes that show the vicious
■dog running across the moors in an attempt to overtake
and attack the hero, are thrilling as well as frightening.
The romance is pleasant.
In the development of the plot, Richard Greene, who had
lived in Canada, arrives in London to claim the title and
estate left by his uncle, who had presumably died from
heart failure. Lionel Atwill, the doctor who had attended
the deceased, believing that he had been murdered, and
fearing for Greene's safety, calls on Basil Rathbone (Sher-
lock Holmes) for his advice. Rathbone sends his assistant
( Nigel Bruce) with Atwill and Greene, to act as protector,
promising to follow within a few days. Instead, he g es
there disguised as an old peddler, so as to carry on his
investigation unhampered. Greene meets and falls in love
with Wendy Barrie, a neighbor : they plan to marry. Eve<-v
one in the neighborhood is mystified by the noise of a howl-
ing dog; being superstitious, they trace it to an old legend
regarding Greene's ancestors, many of whom had met with
violent deaths. While on his way home from Miss Barrie's,
across the moors. Greene is set upon by a vicious dog. The
timely arrival of Rathbone and Bruce saves his life; thev
kill the dog. Rathbone then proves that Miss Barrie's step-
brother, a unknown member of Greene's family, had com-
mitted the murder and had attempted to murder Greene in
an effort to prove his claim to the estate ; he admits it and,
despite an effort to escape, he is arrested. With the threat
of death lifted, Greene looks forward to a happy life with
Miss Barrie.
The plot was adapted from the story by Sir Arthur
Conan Doyle. Ernest Pascal wrote the screen play, Sidney
Lanfield directed it, and Gene Markey produced it. In the
cast are John Carradine, Barlowe Borland, Beryl Mercer,
Ralph Forbes, and others.
It may frighten children. Best for adults. Class B.
"Sergeant Madden" with Wallace Beery,
Tom Brown, Alan Curtis and Laraine Day
(MGM, March 24 ; time, 80 min.)
A good program melodrama, with human appeal. The
story is strengthened considerably by the expert perform-
ances of the entire cast ; particularly good is Laraine Day,
a newcomer, who shows marked talent. Although the plot
is concerned primarily with the bravery of policemen in
their contact with criminals and with their loyalty to their
duties, it has another angle — that of a father-son conflict.
It is from the latter that the picture derives its power. The
closing scenes, in which the father, a policeman, tries to
capture his own son, who had turned criminal, are touch-
ing ; but they may prove too harrowing for women : —
Wallace Beery, a Sergeant on the New York police
force, looks forward to the day when his son (Alan Curtis)
and his adopted son (Tom Brown) would be policemen.
Curtis, being older, graduates first and joins the force. He
marries Laraine Day, a young Irish girl, who, after her
mother's death, had left Ireland to live with Beery and his
family, old friends. Curtis is headstrong and ambitious ; he
is eager to make a place for himself on the force. In line
with his duty, he shoots and kills a young hoodlum who
had stolen a cheap piece of fur from a shop ; but this brings
him clown in the estimation of his superior, who did not
believe in killing young boys. Beery tries to argue with
Curtis, but to no avail ; as a matter of fact, Curtis is so
annoyed that he insists that his wife leave with him, for
an apartment of their own. Since she was going to have a
baby, she felt her place was with her husband. Marc Law-
rence, a gangster, plans to get even with Curtis, for the
boy who had been killed was his girl-friend's brother. He
frames Curtis on a serious charge ; Curtis is tried and sen-
tenced to prison. While on the way there he escapes, with
the guard's gun. In the meantime, Beery, who knew his
son had been framed, pleads with Lawrence to clear him ;
he promises to do so. Curtis goes wild — he does not hesi-
tate to steal and to kill people ; and the police are unable to
trap him. Beery, knowing that Curtis would want to see his
new-born son, has an item broadcast about the birth of his
grandson. Curtis appears at the hospital and is trapped;
heartbroken at the mess he had gotten himself into, Curtis
purposely shoots his gun into the air. The police open fire
and kill him. Miss Day is comforted by Brown, who loved
her.
Wm. A. Ulman, Jr., wrote the story, and Wells Root, the
screen play ; Josef VonSternberg directed it. and J. Walter
Ruben produced it. In the cast are Fay Holden, Marion
Martin, Ben Weklen, and others.
Unsuitable for children. Class B.
"My Wife's Relatives" with James Gleason
and Lucile Gleason
(Republic, March 20: time, 64 min.)
A fair follow-up to the first "Higgins Family" picture.
It has action, fair comedy, and some human appeal. But the
actions of the characters are at times so silly that they tire
one. Harry Davenport, as the outspoken grandfather who
resists the advances of a woman seeking to marry him, is
the most likeable character : —
When his employer (Purnell Pratt) orders him to put
a stop to the romance between his daughter and Pratt's
son, James Gleason becomes angry and resigns ; he decides
to go into the candy business for himself. But things do not
run very smoothly ; he is beset by creditors, particularly by
a man from whom he had bought a diamond ring on the
installment plan. He promises to return the ring ; but when
he asks his wife for it she confesses that she had lost it at
the factory. Gleason's son (Russell Gleason) is certain that
it had been wrapped in with a bar of chocolate. He inserts
an advertisement in the newspapers offering a reward for
the return of the ring; but he lists the reward as $5,000
instead of $50. This naturally brings about a rush of busi-
ness ; but the District Attorney visits Gleason and demands
that he deposit the amount of the reward, which Gleason
cannot do. Davenport, in an effort to save Gleason, offers
to marry wealthy Maude Eburne. But he is saved from
doing this, for the ring is found at home, and Pratt's son
arranges matters so as to make it appear to the authorities
as if he had found it. He and Gleason decide to continue in
the business as partners. Gleason gives his consent to the
marriage.
Dorrell and Stuart MacGowan wrote the original screen
play ; Gus Meins directed it, and Sol Siegel produced it. In
the cast are Mary Hart, Tommy Ryan, Marjorie Gateson,
and others.
Suitability, Class A.
April 1, 1939
HARRISON'S REPORTS
51
"Three Smart Girls Grow Up" with Deanna
Durbin, Charles Grapewin, Nan Grey
and Helen Parrish
(Universal, March 24 ; time, 87 mm.)
Excellent I It is a credit to the ability of Joe Pasternak,
the producer, and of Henry Koster, the director. The story
is charming, combining comedy with human appeal ; the
performances are unusually good, and the music, as sung
by Deanna Durbin, is, of course, of the highest order. In
addition, the production is most lavish. But what is most
important is the fact that Miss Durbin is still her own
delightful self — young, exuberant, and simple, despite the
advertisements stressing her glamour. Her actions are at
times the cause for hearty laughter, because of the naive
way in which she goes about trying to adjust the lives of
her sisters ; but they are at no time objectionable. Although
Miss Durbin is the outstanding player, she has been given
excellent support by a well-chosen cast : —
When her sister (Nan Grey) becomes engaged to Wil-
liam Lundigan, Deanna is heartbroken, for she realized
that her other sister (Helen Parrish) loved him. Since her
mother (Nella Walker) would not listen to her, and her
father (Charles Winninger) was too busy with his broker-
age business to bother with home affairs, Deanna decides
to take matters into her hands. Following the suggestion of
the family butler (Ernest Cossart), she sets about looking
for a good looking young man who could attract Miss
Parrish. She finds him in the person of Robert Cummings,
a young musician, who practiced in a studio adjacent to
the one where she took her singing lessons. She invites him
to dinner ; but to Deanna's anger, he "falls" for Miss Grey
instead of for Miss Parrish. In the presence of every one,
she berates him and orders him out ; naturally they all
think she was in love with Cummings and had acted that
way because of jealousy. She makes matters worse by try-
ing to interfere further. On the day before the wedding,
which she knew was bringing sorrow to all, for Miss Grey
really loved Cummings, she goes, in despair, to her father's
office, where she bursts into tears. He finally listens to her.
By sending Miss Grey off with Cummings on the wedding
day and by taking Miss Parrish to the altar, he adjusts
everything. Thus once again every one is happy.
Bruce Manning and Felix Jackson wrote the original
screen play.
Class A.
"Within the Law" with Ruth Hussey,
Tom Neal and Paul Kelly
(MGM, March 17 ; time, 64 min.)
A fair program melodrama. Produced three times before,
first, in 1917, then in 1923, and the last time in 1935 under
the title "Paid," with Joan Crawford as the star, its appeal
will be directed mostly to those who did not see the last
version. For those who saw it, this one will naturally lack
novelty, since very few changes have been made in the plot ;
furthermore, it suffers by comparison with "Paid," in that
the performances are not so good. It has, however, some
human appeal because of the sympathy one feels for the
heroine, who, although innocent, is sent to prison. And the
romance is appealing : —
Ruth Hussey, released from prison after having served a
three year term for a crime she had not committed, is em-
bittered. Determined to avenge herself upon Samuel Hinds,
the owner of the store where she worked, and who had
prosecuted her, she joins forces with Rita Johnson, her
former cellmate, who was connected with a gang of crooks,
headed by Paul Kelly. Miss Hussey, who had studied law
during her imprisonment, and who knew how to commit
crimes and yet keep within the law, becomes the leader of
the gang ; they prosper. She becomes acquainted with
Hinds' son (Tom Neal) and, after a short friendship, she
marries him, in that way balancing the score with Hinds;
but she leaves Neal. When their funds are tied up by an
injunction obtained by Hinds, Kelly, without consulting
Miss Hussey, agrees to work with Paul Cavanagh, a mem-
ber of the gang, on a robbery job; Kelly is unaware that
Cavanagh had turned stool pigeon and that he had been
working with the police so as to trap Kelly and Miss
Hussey. When Miss Hussey learns what bad happened, she
rushes after the two men, who had gone to Hinds' home to
steal a supposedly valuable picture. Neal finds them there ;
he tells Kelly that the picture was worthless. Kelly then
understands everything; he kills Cavanagh and escapes.
When the police arrive, Miss Hussey claims that Neal had
committed the murder in self defense; but eventually Kelly
confesses, clearing Neal. Sorry for everything she had
done, Miss Hussey apologizes to Neal; they are reconciled
with Hinds' approval.
The plot was adapted from the play by Bayard Veiller ;
Charles Lederer and Edith Fitzgerald wrote the screen
play, and Gustav Machaty directed it. In the cast are
William Gargan, Lynne Carver, Sidney Blackmer, and
others.
Not for children. Class B.
"Mystery of the White Room" with Bruce
Cabot and Helen Mack
(Universal, March 17; time, 58 min.)
A fair program murder mystery melodrama. Followers
of mystery melodramas should find it to their liking, since
it keeps the murderer's identity concealed ; several persons
are suspected, but it is not until the end that the guilty
person is exposed. In-between the sleuthing, there is ro-
mance and comedy ; but the latter is of the silly kind that
proves somewhat annoying : —
Bruce Cabot, a doctor at a hospital, becomes interested
in helping Thomas Jackson, police sergeant, solve the mur-
der of Addison Richards, who had been the chief doctor of
the hospital. Cabot's fiancee (Helen Mack), a nurse, offers
her help. Suspicion falls on Roland Drew and even on
Cabot himself, for they had been rivals for an important
post at the hospital ; also on Frank Reicher, a doctor, whose
right arm had been rendered useless by an oneration per-
formed by Richards. Joan Woodbury, who had been Rich-
ards' private secretary, is another who is suspected. When
Frank Puglia, the janitor, sees some one in the hospital
pharmacy, he greets the person, who throws acid in his
face; as a result he loses his speech and goes blind. Cabot
conceives of using Puglia as the lure to trap the murderer.
The scheme works, and Puglia, who had regained his
sight through an operation, points to Miss Woodbury as
the murderess. She confesses that she had committed the
murder because of jealousy.
James G. Edwards wrote the story, and Alex Gottlieb,
the screen play ; Otis Garrett directed it, and Irving Starr
produced it. In the cast are Constance Worth, Mabel Todd,
Tom Dugan, and others.
Unsuitable for children. Class B.
"Almost a Gentleman" with James Ellison
and Helen Wood
(RKO, March 31 ; time, 64 min.)
A fair program drama, suitable mostly for those who
enjoy pictures about dogs. The dog in this case shows
amazing intelligence, and plays an important part, for it is
through this animal that the hero is finally regenerated.
The hero, because of his actions, which are motivated by a
desire for revenge, fails to win one's sympathy ; as a matter
of fact his surliness tends to depress the spectator. There is
some excitement in the closing scenes, where the dog leads
police to the hideout of kidnappers. The romance is pleas-
ant : —
Returning to his home town after a few years' absence,
James Ellison enters his house through a window. Helen
Wood, who had leased the house from an agent and did not
know Ellison, believes him to be a burglar. She calls for
the Sheriff, and has Ellison arrested. The matter is. of
course, cleared up the following morning, and Miss Wood
apologizes. Ellison, who had taken a fancy to a dog that
was locked up in the pound, is particularly eager to have
the animal when he learns that his former brother-in-law
(Robert Kent) had sent it there to be killed; he pavs the
fine and gets the dog. Miss Wood suggests that Ellison
and the dog live in the barn until her lease expired. She
learns that Ellison had been married to Kent's sister (June
Clayworth), but that the family, feeling that Ellison did
not belong in their social set, had broken up the marriage ;
Miss Clayworth had since remarried. Ellison was bitter,
his one desire being to show Kent up. When the town
drunkard is found murdered, suspicion falls on Ellison's
dog, and it is taken away from him. Ellison demands a trial
for the dog, at which time he proves, through witnesses,
that the drunkard had been killed by a leopard which had
escaped from a carnival, but which had later been recap-
tured. In the meantime, Miss Clayworth is kidnapped. Elli-
son's dog leads the police to the gangsters' hideout, thus
becoming the cause of Miss Clayworth's rescue. Kent and
Ellison shake hands, forgetting all past differences. Ellison
is happy, for he had fallen in love with Miss Wood, who
returned his love.
David Silverstcin and Jo Pagano wrote the screen play;
Leslie Goodwins directed it, and Cliff Keid produced it. In
the cast are Robert Warwick, Leonard IVnn. John Wray,
and others.
Suitability, Class A.
.52
HARRISON'S REPORTS
April 1, 1939
It is to make it impossible for a wholesaler to hold the
business-life of his own customers in the hollow of his hand
by competing with them that every one of you must fight to
bring about a divorcement of theatres from production-
distribution.
By the suit now pending in the District Court for the
Southern District of New York, the United States Govern-
ment has undertaken to bring about such a divorcement.
But in order for it to do so, it must have the necessary
proof. The defendants have demanded of the Government a
Bill of Particulars, and the Court has granted part of their
demands. The Department of Justice is naturally preparing
this Bill. But in order that the Government's case may be
strengthened, the Department of Justice must have plenti-
ful information as to the abuses the producers have prac-
ticed on you over a period of years, and as to the effect
upon the independent theatre owners the operation of thea-
tres by the major companies has had. Such information can
be furnished only by you, the independent theatre owners.
There has never been a time when you had a better
chance to shatter the chains that have bound you for so
many years. The United States Government has under-
taken, without any cost to you, to free you from this slav-
ery. Will you take advantage of the Government's proffer?
Will you furnish it with the necessary information? If you
do not, it will be said that you are worthy of no more than
your present fate.
If you wish to cooperate with the U. S. Government in
this suit, write to Hon. Thurman Arnold, Assistant At-
torney-General, Department of Justice, Washington, D. C,
giving him whatever information you have, not only con-
cerning yourself, but also other exhibitors.
THE SPEECH ALLIED PRESIDENT
COLE MADE AT THE MGM
SALES CONVENTION
(Concluded from last week)
(The first part of the speech was published in last week's
issue. — The Editor.)
"A seller dealing with a buyer in that helpless situation
owes a duty to the industry, to society and to the law not
to press him so hard as to deprive him of a means of liveli-
hood. The motion picture business is not a public utility, its
prices and terms are not regulated by law ; but the arbitrary
exercise of monopolistic power is what has caused other
industries to be classified as public utilities. Therefore, a
sense of responsibility to the public in general, as well as an
enlightened self-interest, should admonish a distributor not
to drive too hard a bargain simply because an exhibitor
must have his pictures. Now more than ever before it is to
the interest of the distributors to keep the exhibitors in
business ; not to force them out. And if you say that there
is no substance to this admonition, I will respond by asking
you for just a moment to put yourself in the exhibitors'
shoes. Knowing that the week-end business equals 80% of
your total for the week, how would you like to have to play
designated high percentage pictures on every week-end
against the competition of radio programs featuring movie
stars, some of whom may be featured in the pictures you
must play ?
"Not only must the distributors exercise some restraint
in the matter of draining off theatre earnings, unless they
want to kill the goose that lays the shiny eggs, but they
must preserve the right of the exhibitor to bargain in re-
spect of terms and conditions that greatly affect his earning
power. The buyer — and here I speak for the subsequent-run
exhibitor— must be free to make his contract with the seller
unhindered by terms and conditions imposed by third per-
sons who are not parties to the transaction. The crudest
concepts of individual freedom imply this. And now the
highest court in the land has laid down that very principle
for the guidance of this industry. Like it or not, it is the
law. For my part, I should think you would like it. Count-
less exhibitors have told me that they got along all right
with the film salesmen and exchange managers; that the
latter were anxious to grant them better terms than they
were receiving ; that their hands were tied and their policy
was dictated by the large buyers who insisted on writing
their terms into the contracts between the distributors and
the subsequent runs.
"Let us apply this principle to the very important matter
of protection — 'clearance' to you. I need not remind you
how much importance exhibitors attach to protection. The
right to impose protection resides with the distributors by
virtue of their ownership of copyrights. To the extent that
the imposition of protection enables the distributor to reap
a maximum return on its product, it is justified. But the
distributors allowed this valuable privilege to slip out of
their grasp. By the time the Supreme Court got around to
setting matters right, control of protection had been
usurped by the circuits, which, as the court pointed out,
owned no copyrights. In virtually every territory the domi-
nant circuit decides for itself what protection it wants and
its terms are written into the contracts of the independent
subsequent runs, however distasteful, however ruinous, it
may be. I do not believe there is a man within range of my
voice who thinks that a sound condition.
"Protection imposed under those conditions has no rela-
tion to the protection of the copyrights owned by the
distributors. It ignores the rights which the distributor has
in its copyrighted properties. The only purpose of such pro-
tection is to regulate competition between exhibitors in the
interest of the circuits and to give the circuits a monopoly
in their respective territories. The distributors now have it
in their power to re-assert their own rights, to regain the
control over their own products which they had lost, and to
regulate clearance solely in their own interest as distribu-
tors. If they grasp this opportunity great progress will have
been made. If instead of taking matters into their own
hands, they allow their theatre departments and large cus-
tomers to devise means for perpetuating the old order, not
only are they headed for serious trouble, but they will be
guilty of fumbling the greatest opportunity to put the
industry on a sound basis that they have ever had.
"I am sure that every man in this room realizes that the
undue extension of protection not only cripples the theatres
burdened by it, drying them up as sources of film revenue,
but also tends strongly to alienate the good will and sacri-
fice the patronage of millions of theatre goers. The greatest
fallacy foisted on the industry by the theatre departments
and the chains is that if a picture can be withheld from the
subsequent run theatre long enough, the patrons of that
theatre will flock to another theatre, inconveniently located
and charging a higher admission price, in order to see that
picture. This ignores the plain fact that many people are
dependent on a particular theatre because they are too old
or too young to go down tow^n or to another town, or be-
cause they can not afford to attend the higher price theatres,
or have not cars or do not care to drive to the other theatre
and find parking space. These people are not forced into the
prior runs because the theatre they are accustomed to attend
— or can attend — can not show a picture when they would
like to see it. They merely lose interest in the picture.
"I am not unmindful that some prior runs might be seri-
ously impaired or destroyed if the low price subsequent runs
got the picture too soon. Naturally, it is the concern of the
distributors that those runs be preserved, just as it should
be their concern that the subsequent runs be preserved.
But let the distributors decide protection schedules for
themselves, as the result of negotiations with all affected
thereby, and in the interest of all concerned. When the
present outrageous schedules imposed by the circuits in
some territories are moderated, I am confident that theatre
attendance will increase and that the distributors will not
suffer, but on the contrary will prosper, as a result thereof.
"And in closing, I point out to you the desirability from
every point of view of retaining the independent exhibitors
in this industry. The industry needs these men and their
ideas, energies and good will in selling motion pictures to
the public. A monopolized industry is never a healthy one,
and it knows no peace. The motion picture industry has
weathered the depression, but now it has come upon evil
days. It must not only repent and mend its ways, but it must
also do a certain amount of penance. Readjustments must
be made, new policies must be adopted, new trade practices
must be put into effect and all these must be enduring, not
transitory. If the lesson has been learned, if there is a sin-
cere desire to accommodate the industry to the new order,
all will be well. If there is a grudging acceptance of the
situation, if the dogs of reaction continue to snap at the
heels of progress, then the industry and all connected with
it are in for a long siege of uncertainty and demoralization.
"If such dire consequences ensue, it will not be until after
a record has been made, a record which all may read and
understand. Every person in this business, whether he be a
producer, a distributor, or an exhibitor, or whether he be
affiliated or independent, is helping to write that record.
This carries with it a terrible responsibility to meet the
issues of the day fairly and fully. I am both an optimist and
a patient man. I know that it is only natural to strain and
gag at a bitter pill. But since the doctor has ordered it,
sooner or later it must be swallowed, and I am convinced it
will do the industry a lot of good. I, for one, am not selling
the motion picture business short."
IN TWO SECTIONS— SECTION ONE
Entered a* second-class matter January 4, 1921, at the post office at New York, New York, under the act of March 3, 1879.
Harrison's Reports
Yearly Subscription Rates: 1270 SIXTH AVENUE Published We«kly by
United States $15.00 1>^m IfilO Harrison's Reports, Inc.,
U. S. Insular Possessions. 16.50 Room 1D1£ Publisher
Canada 1C.50 New York, N. Y. P. S. HARRISON, Editor
Mexico, Cuba, Spain 16.50 , ,_ „. . _ . _
Great Britain 15.75 A Motion Picture Reviewing Service B.H,!lW,Hh«, t»iv 1 mo
Australia, New Zealand, Devoted Chiefly to the Interests of the Exhibitors Established July 1, 1919
India, Europe, Asia .... 17.50
%r» q p„„„ Its Editorial Policy: No Problem Too Big for Its Editorial Circle 7-4622
joc a. ^opy Columns, if It is to Benefit the Exhibitor.
A REVIEWING SERVICE FREE FROM THE INFLUENCE OF FILM ADVERTISING
Vol. XXI SATURDAY, APRIL 8, 1939 No. 14
COMPLETION OF TRADE PRACTICE
DRAFT TIMED BADLY
After dragging the negotiations for several months, the
producers at last decided to place into the hands of the ex-
hibitor representatives the final draft of the Trade Practice
Code. They delivered it Thursday evening, last week.
Few exhibitors who know what is going on will blame
the Distributor Committee, headed by Mr. Kent, with
W. F. Rodgers acting as Chairman and carrying on the
work ; but the suddenness with which the draft was com-
pleted will lead many exhibitors to believe that its comple-
tion was hastened so that it might appear in the trade papers
before Monday (April 3), the day on which the hearings on
the Neely Bill were held. By placing these proposed reforms
in the record, they evidently hoped to convince the Sub-
committee of the Senate Committee on Interstate Com-
merce that the passage of this Bill is now unnecessary.
How the Allied leaders feel about seeing the final draft
in print before they had a chance to go over it so as to ex-
press their views on it, as has been the procedure heretofore,
Harrison's Reports does not yet know, for no statement
has so far been given out from Allied headquarters. A state-
ment will no doubt be issued soon.
The revised draft is far clearer than any of the previous
drafts — it is more specific, enabling the reader to know
what reforms the distributors have decided to grant to the
exhibitors.
Under the heading, "Exclusion Privilege," the exhibitor
is granted the right to cancel, in addition to the 10%, 15%,
or 20%, as the case may be, in accordance with the price
he pays for film, also pictures that are declared "locally
offensive on moral, religious or racial grounds," the arbitra-
tion board settling the dispute in case there should be a dis-
agreement between exhibitor and distributor whether a
feature may or may not be excluded on the aforementioned
grounds.
The provision under "Trade Announcement" might have
just as well been left out, as Mr. Abram F. Myers once
suggested ; it does not mean anything.
Some provision has been made to give an exhibitor the
right to contract big pictures belonging to distributors
with whom he has no contract, whenever there is public
demand for them. Whether or not this provision will prove
satisfactory to the independent exhibitors represented by-
Allied this paper does not yet know; but the concession
granted does not seem to be enough to act as an induce-
ment for the Allied Association to give up its fight for the
complete elimination of block-booking and blind-selling.
Under "Preferred Playing Time." the distributor agrees
not to demand preferred playing time either on flat-rental
pictures, or on percentage pictures that are contracted for
with a guarantee of a minimum amount ; but it does leave
the matter of plain percentage pictures as it was before.
How does Allied feel about this concession?
In looking over the speech that was made by Col. H. A.
Cole, president of Allied, at the convention of the MGM
sales forces in Chicago on March 21, I find the following
remark :
"Knowing that the week-end business equals 80% of
your total for the week, how would you like to have to play
designated high percentage pictures on every w-eek-end
against the competition of radio programs featuring movie
stars, some of whom may be featured in the pictures you
must play ?"
This remark leads us to believe that the Allied organiza-
tion is not getting from the distributors what it fought for.
And I doubt whether there are many exhibitors who would
disagree with Col. Cole.
Under the same heading, that is, "Preferred Playing
Time," the exhibitor is given the right to refuse to play
pictures that he considers unsuitable for the people of his
community on those days. The conditions under which he
may refuse such pictures are set forth in the provision.
Under the heading, "Some Run Available," any ex-
hibitor shall be able to obtain pictures, provided he fulfills
the qualifications prescribed in the provision. The prices de-
manded for pictures shall not be subject to arbitration, but
each distributor is not to ask for his pictures prices, or im-
pose conditions, that may be considered "unreasonable."
Notice that an arbitration board is barred from saying
whether the prices asked from an exhibitor are unreason-
able, if such they should be, asked of him for no other pur-
pose than to defeat the intent of this provision.
Under the heading "Regular Customer," the provision
attempts to take care of frequent independent exhibitor
complaints that the distributors always favor the affiliated
circuits. Certain regulations are prescribed, with the right
of the exhibitor to resort to arbitration in case there should
be any violation of this provision.
Under the heading, "Short Subjects, Newsreels, etc.,'' all
called "Shorts" for convenience, an exhibitor is freed of
the obligation to buy a distributor's shorts in order to
obtain his features. (This term includes westerns as well
as "foreigns." ) In case any distributor violates this provi-
sion, the exhibitor may resort to arbitration.
Under the heading, "Score Charges," the distributors
promise not to make separate charges for pictures of the
1939-40 season, on either flat rental or on percentage pic-
tures.
The following other matters are treated under their re-
spective headings :
The distributor shall, at the time he sends a notice of
availability, notify the exhibitor of the price allocation of
the picture.
On selective contracts, the exhibitor must make his selec-
tion within twenty-one days after a notice of availability is
sent to him.
An exhibitor shall not be required to play a picture in
the order of its release if the distributor should hold it hack.
A distributor shall not coerce an exhibitor into signing a
contract by employing the familiar threat about building a
competitive theatre. Such methods are subject to arbitra-
tion.
Breaches of contract shall be arbitrated. So shall be
clearance as well as over-buying.
License fees, and other terms and conditions (except
those specifically provided for in the Code), shall not be
subject to arbitration.
This Code shall be effective on contracts entered into
after January 1, 1939, but only for the 1939-40 season, and
thereafter as long as the Code remains in effect. But the pro-
posed agreement covers only two seasons, beginning with
the 1939-40 season ; a signatory, whether exhibitor or dis-
tributor, is given the right to withdraw at the end of the
second season by giving a written notice of withdrawal at
least six months prior to the end of the season. (August 31
is to be considered the end of a season; September 1, the
beginning. )
In regard to arbitration. Mr. \V. F. Rodgers. speaking
for the Committee, said in his letter to Col. Cole, president
of Allied, as follows about it :
"Your counsel's revision contained counter suggestions
as to arbitration, which we discussed with our counsel.
However, we have not yet completed a revision of the pro-
[Continued on last page)
54
HARRISON'S REPORTS
April 8, 1939
"I'm From Missouri" with Bob Burns
and Gladys George
{Paramount, April 7; time, 7Sl/2 min.)
Good for the Bob Burns fans, but only fair for general
audiences. Most of the laughs are provoked by Burns'
homespun philosophy ; in addition, he awakens sympathy
by his actions. But the story itself is routine ; it depends on
a few gags for novelty, but only some are amusing. The
closing scenes are extremely comical because of the mixups
and of the manner in which Burns puts over an important
deal. A romance is worked into the plot, but it is of minor
importance : —
Burns, a banker and former breeder of Missouri mules,
realizes that, with the falling market, his mule-breeding
neighbors would be ruined. E. E. Clive, an Englishman
who, with his wife, had been forced down in their plane and
had accepted Burns' hospitality, suggests that Burns fly
his prize mule to Kansas for the stock show in order to in-
terest British Army buyers. But things turn out against
him and the only thing left for him to do is to go to England
to see the Army buyers himself. His wife (Gladys George)
and her sister (Judith Barrett) accompany him. Once in
London, Burns realizes he was up against tough competi-
tion in the person of Gene Lockhart, who was trying to
induce the Army officials to buy cavalry tanks instead of
mules. In the meantime, Miss George becomes society con-
scious and rents a large house in order to give swank
parties. Her first big party is a miserable failure until
Clive and his wife, who, it developed, were a Duke and
Duchess respectively, and their friends, arrive on a surprise
visit. Neither Burns nor Miss George had known of their
titles. In the meantime. Burns' Missouri neighbors had
shipped him 2,000 mules, feeling sure he would put over the
deal ; he is frantic, for he could get no definite word from
the officials. A buyer (Wra. Collier, Sr.) suddenly presents
himself ; when the Army officials hear of this, they rush
down to the pier and insist that Burns sell the mules to
them ; he gladly does so. He almost faints when he learns
that Collier had intended to buy only one mule. Miss
George is cured of her social aspirations and is happy to go
back home with Burns. So is her sister, who realized that
her home-town sweetheart (William Henry) was a worth-
while person.
Homer Croy and Julian Street wrote the story, and John
C. Moffitt and Duke Atteberry. the screen play ; Theodore
Reed directed it, and Paul Jones produced it. In the cast
are Patricia Morison, Melville Cooper, Doris Lloyd, and
others.
Suitability, Class A.
"Winner Take All" with Tony Martin,
Gloria Stuart and Henry Armetta
(20//i Century-Fox, April 21 ; time, 62 min.)
A fair program entertainment. It mixes comedy with
romance and prize-fighting and manages to be fairly enter-
taining in each respect. Henry Armetta gives an outstand-
ing performance ; as the harrassed lodge treasurer, who
tries gambling in an effort to build up the lodge's funds, he
wins one's sympathy, at the same time provoking hearty
laughter. Tony Martin's part is a routine one, which he
handles only fairly well ; he docs no singing. Although the
story is far-fetched, it moves at a fast pace. The closing
scenes are the most exciting; there Martin fights his most
important bout. What makes it exciting is the fact that
Armetta had bet all the lodge's funds on Martin. The
romance is developed according to formula : —
While working as a waiter in Armctta's restaurant,
Martin, who had left Montana in order to earn enough
money in New York to pay his way through agricultural
college, comes to the attention of Robert Allen, a fight
manager. Allen signs him up, and, through a series of
fixed fights, soon has him on top. Martin, not knowing that
the fights had been fixed, lets success go to his head ; he
goes out on parties and takes to drink. Gloria Stuart, a
sports writer who had fallen in love with Martin, wants to
help him. She pleads with Kane Richmond, who was to
fight Martin, to knock him out, even though Allen's orders
were to give the fight to Martin. Martin loses ; this sobers
him up. But it brings agony to Armetta, because he had bet
the lodge's money on him. Miss Stuart takes over Allen's
contract. Together with Slim Summerville, she trains
Martin, who starts winning fights legitimately. Eventually
she matches him with Richmond. Armetta again bets on
Martin. For a time it looks as if Martin would lose, for he
had found out the truth about his other fight with Rich-
mond. But he regains his senses when Richmond tells him
Miss Stuart loved him. He wins both the fight and Miss
Stuart. Armetta is overjoyed.
Jerry Cady wrote the story, and Frances Hyland and
Albert Ray, the screen play ; Otto Brower directed it, and
Jerry Hoffman produced it. In the cast are Inez Palange,
Johnnie Pirrone, Pedro DeCordoba, and others.
Suitability, Class A.
"The Lady and the Mob" with Fay Bainter,
Ida Lupino and Lee Bowman
(Columbia, April 3 ; time, 65 min.)
This farce is fair program entertainment. It has a novel
plot which, although far-fetched, provides situations that
are somewhat comical. There is excitement and comedy in
the closing scenes, where the heroine uses drastic methods
to outwit racketeers. The romance is fairly pleasant and is
worked into the plot without interfering with the action : —
Annoyed when she learns that racketeers were forcing
merchants to join their protective association, thus bring-
ing up the cost to the consumer, Fay Bainter, the richest
woman in town and president of the bank, decides to take
matters into her own hands. When she realizes that she
could get no place arguing with the racketeers, she goes to
the Mayor, who asks her to keep out of his affairs. She then
decides to form her own gang, and sends to New York for
Warren Hymer, a reformed pickpocket ; upon his arrival
she requests him to form the gang. Helped in her work by
her future daughter-in-law (Ida Lupino), Miss Bainter
starts acting ; first of all, she buys a bullet-proof automobile
and machine guns. With the help of her gang, she kidnaps a
member of the racketeering gang in an effort to find out the
name of their leader ; he finally confesses that it was the
Mayor. But Miss Bainter is arrested on a kidnapping
charge ; her men help her escape from jail. Accompanied by
the District Attorney, she confronts the Mayor with evi-
dence she had obtained ; he confesses. With the racketeer
mob wiped out, Miss Bainter goes back to normal living;
she is happy when her son marries Miss Lupino.
George Bradshaw and Price Day wrote the story, and
Richard Maibaum and Gertrude Purcell, the screen play;
Ben Stoloff directed it. and Fred Kohlmar produced it. In
the cast are Henry Armetta, Harold Huber, Joseph Saw-
yer, Tom Dugan, and others.
Adult fare. Class B.
"Society Lawyer" with Walter Pidgeon,
Virginia Bruce and Leo Carrillo
(MGM, March 3; time, 77 min.)
A fair remake of "Penthouse," which was first produced
by MGM in 1933. It should prove entertaining mostly to
those who did not see the first picture, for this one suffers
somewhat by comparison. Moreover gangster melodramas
much more exciting than this have been produced since
1933. Nevertheless it should go over where stories of this
type are liked, for the action is fast and at times exciting.
As was the case in the first picture, it is strictly adult fare
because of the somewhat demoralizing plot developments
and of the racy dialogue. It has occasional bits of comedy
and a pleasant romance : —
Because of the fact that Walter Pidgeon had defended
a gangster (Leo Carrillo), obtaining his acquittal, his law
partners upbraid him ; he, therefore, resigns. His society
sweetheart (Frances Mercer) breaks their engagement,
April 8, 1939
HARRISON'S REPORTS
55
turning her affections to Lee Bowman, who promises to
break up an affair he had been having with Ann Morriss.
Carrillo, who worshipped Pidgeon even though he occa-
sionally insulted him, insists on having two of his body-
guards trail him. He invites Pidgeon to his nightclub, where
he introduces him to Virginia Bruce, an entertainer. In the
meantime, Eduardo Ciannelli, a vicious gangster, who had
been Miss Morriss' former lover, learns from her that her
affair with Bowman was over ; yet he desired revenge. He
arranges to have them both at his home at a party, where
he has one of his henchmen kill Miss Morriss, arranging
the evidence so as to make it appear as if Bowman had com-
mitted the murder. Pidgeon undertakes to defend Bowman
when he is arrested. Learning that Miss Bruce had been a
friend of the murdered girl, Pidgeon suggests that she stay
at his apartment, hoping that she would give him some
leads just by talking naturally. She does. Although his life
was endangered, Pidgeon goes on with the case and finally
solves it. He forces the guilty man to confess. In an effort
to protect Miss Bruce, Carrillo, who had been following
her, sacrifices his own life in a gun fight with Ciannelli.
Bowman is freed. With the case finished, Pidgeon proposes
marriage to Miss Bruce and is accepted.
The plot was adapted from the story by Arthur Somers
Roche ; Frances Goodrich, Albert Hackett, Leon Gordon,
and Hugo Butler wrjite the screen play, Edwin L. Marin
directed it, and John Considine, Jr., produced it. In the
cast are Herbert Mundin, Frank M. Thomas, Edward S.
Brophy, and others.
Unsuitable for children and adolescents. Class B.
"They Made Her a Spy" with Sally Eilers
and Allan Lane
(RKO, April 14 ; time, 68 win.)
A pretty good program espionage melodrama. Although
it starts off a little slowly, it gradually develops a fast
pace, holding one's attention well. The action, that is, the
manner in which the spy ring works, is interesting, and
quite often exciting, in spite of the fact that parts of it seem
far-fetched. Since the heroine, who is a sympathetic char-
acter, becomes a member of the spy ring in an effort to help
the U. S. Government uncover the leader's identity, one is
naturally held in suspense, fearing for her safety. The ro-
mance is pleasant : —
When her brother, an Army Lieutenant, is killed, be-
cause of sabotage, while demonstrating his new anti-
aircraft shell, Sally Eilers gives up her position in order to
join the U. S. Intelligence Service in an effort to break the
spy ring. Through a ruse, she comes to the attention of one
of the spy-ring leaders (Fritz Leiber), who is stru:k by
her intelligence and daring ; he makes her a member of the
gang. During her work she meets Allan Lane, presumably
a member of the gang, and works with him on several cases.
Eventually, through the work of both Miss Eilers and
Lane, the ring is broken and the leader, who, it develops,
was a respected business man, together with his men, are
arrested. It is then that Miss Eilers learns that Lane was a
reporter, who had risked his life to get the story about the
ring. Lane, too, is surprised to find that Miss Eilers was
working for the Government. But they are both happy for
they had fallen in love with each other.
George Bricker wrote the story, and Michael Kanin and
Jo Pagano, the screen play; Jack Hively directed it, and
Robert Sisk produced it. In the cast are Frank M. Thomas,
Theodore Von Eltz, Addison Richards, Larry P.lake, and
Pierre Watkin.
Suitability, Class A.
"North of Shanghai" with Betty Furness
and James Craig
{Columbia, February 10; time, 58 min.)
Ordinary program entertainment. The most exciting part
of the picture is that portion in which have been used actual
newsreel shots of Shanghai bombings. The story is some-
what confused and illogical, becoming particularly far
fetched in the closing scenes. Even though one sympathizes
with the hero and the heroine because of their bravery in
the face of danger, one's interest wanders because of the
rambling way in which the story unfolds. The romance is
developed according to formula : — ■
Fearing that the articles Betty Furness, a reporter, had
written against gangsters would result in injury to her and
in damage to the newspaper, the editor insists that she
leave the country for a time. He suggests that she go to
Shanghai, all expenses to be paid by the firm. Miss Furness
becomes acquainted with James Craig, a fellow-passenger,
who was on his way to Shanghai to obtain newsreel pic-
tures of the fighting. By the time they reach port they are
very much in love with each other. Craig, who was worried
for Miss Furness' safety, is surprised when he discovers her
identity. Together they work on a case involving the mana-
ger of the Shanghai office of Miss Furness' newspaper, for
they had learned that he was mixed up with a gang of inter-
national agents working against China. Craig and Miss
Furness pass their information on to the head of a powerful
Chinese society, and they are given aid with which to com-
bat the enemies. They rout them in time to prevent an
aerial bombing of an important Chinese arsenal. Craig and
Miss Furness leave for New York, there to be married.
Harold Buchman and Maurice Rapf wrote the original
screen play ; D. Ross Lederman directed it. In the cast are
Keye Luke, Morgan Conway, Joseph Downing, Russell
Hicks, Dorothy Gulliver, and others.
Suitability, Class A.
"The Story of Vernon and Irene Castle"
with Ginger Rogers and Fred Astaire
(RKO [1937-38], April 28; time, 92 min.)
Very good entertainment ! It is one of the best Astaire-
Rogers pictures, for it has a story with human appeal, ro-
mance, comedy, and, of course, excellent music and dancing.
Considering that the story has been based on the life of
Vernon and Irene Castle, two of the finest and most popular
dancers in America during the pre-war period, the public
should be curious enough to want to see the picture. Adult
audiences should be delighted by the old songs and dances,
which will bring back memories of days gone by. And it
should prove entertaining to young folk, since it depicts an
interesting period in the development of the dance. Both
Miss Rogers and Astaire are extremely appealing, and
dance the various numbers with grace. The ending, which
is in keeping with facts, touches one deeply. The story
starts in 1911 and continues through the war: —
After his meeting with Irene (Ginger Rogers), who
wanted to go on the stage, Vernon Castle (Fred Astaire),
who played slapstick comedy, decides to take her advice
and give up comedy for dancing. They practice routines
together ; after a short courtship they decide to marry.
Unable to interest American managers in a dancing act,
they accept an offer to appear in a musical comedy in Paris ;
again they are disappointed, for the manager expected
Vernon to do his comedy act. By chance, they come to the
attention of Maggie Sutton (Edna May Oliver), a pro-
moter-manager, who obtains for them an engagement at a
famous cafe. They become overnight sensations, and money
starts pouring in. They go back to America, where they
make successful cross-country tours. After a time, they
decide to retire, and settle down. But Vernon, who was
English by birth, is restless and finally, to Irene's despair,
enlists in the Aviation Corps. They meet once in Paris, just
when America enters the war. Irene later goes to Holly-
wood, to act in motion pictures ; she is overjoyed when she
receives a telephone call that Vernon had arrived in Amer-
ica and was on his way to Texas to teach aviation to young
Army students. They plan to meet at a certain hotel. But on
that very day Vernon meets with an accident and is killed.
The plot was taken from two books by Irene Castle.
Richard Sherman wrote the screen play, H. C. Potter di-
rected it. and George Haight produced it. In the cast are
Walter Hrcnnan, Lou Fields, Kticune Girardot. Janet
Needier, Rolfe Sedan, and others.
Suitability, Class A.
56
HARRISON'S REPORTS
April 8, 1939
visions with respect to arbitration machinery, and for that
reason we again enclose the proposed basis for arbitration
which we previously handed you. It is obvious that this is
not complete and further elaboration will be necessary in
the light of discussions and of your counsel's suggestions,
but we believe that the statements of principle contained in
it and in the revised memorandum enclosed herewith will
furnish the foundation for the arbitration machinery de-
sired."
The suggestions in the Code draft about arbitration cover
location of the board, method of selection of arbitrators,
the cost of the arbitration machinery, qualification of the
arbitrators, and a few other matters.
Editor's Notk: Just before going to press, this office
received an Allied release, part of which reads as follows:
"The trade practice proposals submitted by the distribu-
tors not only are incomplete, but they do not pretend to
abolish compulsory block booking and blind selling, and do
not touch the subject of theatre divorcement. The proposals
do not provide relief at all commensurate with that asked
by the Government suit. Under the aforementioned resolu-
tions of the Board of Directors, Allied can follow no other
course than to support and seek the passage of the Neely
Bill ( S. 2X0 ) to prohibit compulsory block booking and
blind selling of motion pictures. ..."
THE NATIONAL ANTHEM AND ITS
PLACE IN MOVING PICTURE
THEATRES
At a recent meeting of the Northampton (Mass.) Mo-
tion Picture Council, the reaction of the picture theatre
audiences to the exhibition of the trailer "The Star
Spangled Banner" was discussed.
Some of the members expressed regret that so few of the
audiences in the theatres of that city stood at attention
while the aforementioned trailer was exhibited.
Some of the speakers, however, exonerated the audiences
and, though they recognized the sincerity of the motion
picture industry in its decision to spread patriotism, they
criticized the manner of showing it ; they questioned the
wisdom of showing the trailer at every performance.
The result of this discussion was a decision on the part
of the Motion Picture Council to make the following sug-
gestions to the local managers :
(a) The film, if shown at every performance, should be
shown in the beginning, when it is easier for people to
stand up.
( b ) The showing of the trailer at every performance
tends to cheapen the national anthem.
(c) The showing be confined to national holidays and to
patriotic occasions.
(d) Every precaution be taken to prevent the conveying
to the audiences of the impression that the trailer is an "ad
or a preview of a coming attraction."
Harrison's Reports concurs with these suggestions and
wishes that every theatre owner accept them. Nothing can
do more to create disrespect for the national anthem than
the showing of the reel every time a manager feels that the
showing of it will bring prestige to his house; its showing
should be prompted by more worthy motives.
The New York Herald Tribune, issue of March 5, had a
fine editorial on patriotism, under the heading, "Proof of
the Patriot." "Like charity," said part of the article, "pa-
triotism "is not puffed up.' A patriot would no more think
of calling himself a patriot than he would describe himself
as a gentleman. The deeper his love for his land, the less he
is likely to assure the neighbors that it exists, and under
no circumstances will he be heard bellowing that fellow
countrymen who hold opinions opposed to his own are
traitors and lice."
The editorial continues in the same vein, remarking that
it is better thai Americans should not go in for mass hys-
teria over the flag, nor for any of those other paganistic
forms that the totalitarian states so love to display, because
patriotism cannot, as the editorial says, be fostered by
parades or insignia ; these merely promote arrogance. It
closes as follows :
"The glorious quality of the American way always has
been that you were free to follow it or not. It never was
designed for solemnly lifted, shiny boots for everyday wear,
nor for prostrate obeisance. Always it has been rough with
disagreements and with virile cantankerousness, and far
from regarding it as perfect. Americans intend to go right
on improving it."
Harrison's Reports feels that every theatre owner
should own a print of the trailer, but it believes, like the
members of the Northampton Motion Picture Council, that
the country would be served by the motion picture industry
better if the showing of it was to be confined to Sundays
and holidays, as well as to patriotic occasions.
MGM ALREADY ADOPTING SOME
OF THE TRADE PRACTICE
REFORMS
At the annual convention of the MGM sales forces, which
was held in Chicago on March 21 and 22, Mr. W. F.
Rodgers, general manager of distribution of that company,
announced that his company has already decided to adopt
the following trade practices beginning now, and not until
after the code has been ratified :
Abolition of the score charge.
Elimination of preferred playing time on percentage-
wit h-a-guarantce pictures.
.Selling of shorts (newsreels, trailers, shorts, westerns
and "foreigns") will not be tied up with the features.
No MGM employee will be allowed to employ theatre-
building as a means of compelling the exhibitor to buy the
MGM product.
BOX-OFFICE PERFORMANCES OF
1938-39 SEASON'S PICTURES— No. 1
This is the second series of articles giving the box-office
performances of 1938-39 season's pictures. The first series
was printed beginning with the January 14 issue.
Columbia
"In Early Arizona," with Bill Elliott and Dorothy Gulli-
ver; directed by Joseph Levering, from a screen play by
Nate Gatzert : Good.
"Adventure in Sahara," with Paul Kelly, Lorna Gray,
and C. Henry Gordon ; directed by D. Ross Lederman, from
a screen play by Maxwell Shane : Fair-Poor.
"Blondie," with Penny Singleton and Arthur Lake; pro-
duced by Robert Sparks and directed by Frank R. Strayer,
from a screen play by Richard Flournoy : Good-Fair.
"The Terror of Tiny Town," with Bill Curtis and
Yvonne Moray ; directed by Sam Newfield, from a screen
play by Fred My ton : Good-Poor.
"Strange Case of Dr. Mead," with Jack Holt and Beverly
Roberts; produced by Larry Darmour and directed by
Lewis D. Collins, from a screen play by Gordon Rigby :
Fair-Poor.
"There's That Woman Again," with Melvyn Douglas
and Virginia Bruce ; produced by B. B. Kahane and di-
rected by Alexander Hall, from a screen play by Philip G.
Epstein, James E. Grant, and Ken Englund : Good-Fair.
"Smashing the Spy Ring," with Ralph Bellamy, Fay
Wray, and Regis Toomey ; directed by Christy Cabanne.
from a screen play by Dorrell and Stuart McGowan and
Arthur Horman : Fair-Poor.
"Homicide Bureau," with Bruce Cabot, Rita Hayworth,
and Moroni Olsen ; directed by C. C. Coleman, Jr., from a
screen play by Earle Snell: Fair-Poor.
"Lone Wolf's Spy Hunt," with Warren William, Ida
Lupino, and Virginia Weidler ; produced by Joseph Sis-
trom and directed by Peter Godfrey, from a screen play by
Jonathan Latimer: Fair-Poor.
"North of Shanghai," with Betty Furness and James
Craig ; directed by D. Ross Lederman, from a screen play-
by Maurice Rapf and Harold Buehman : Fair-Poor.
Nineteen pictures, including Westerns, have been re-
leased. Grouping the pictures of the different ratings from
the beginning of the season, exclusive of four Westerns on
which reports have not been obtained, we get the following
results :
Excellent, 1; Good, 1; Good-Fair, 2; Good-Poor, 1;
Fair, 2; Fair-Poor, 8.
The first nineteen pictures in the 1937-38 season, includ-
ing Westerns, were rated as follows :
Excellent, 2; Good-Fair, 2; Good-Poor, 1; Fair, 4;
Fair-Poor, HI.
IN TWO SECTIONS— SECTION TWO
HARRISONS REPORTS
Vol. XXI NEW YORK, N. Y., SATURDAY, APRIL 8, 1939 No. 14
(Partial Index No. 2 — Pages 26 to 52 Inch)
Title of Picture Reviewed on Page
Adventures of Jane Arden, The — Warner (58 min.) ... 38
Almost a Gentleman — RKO (64 min.) 51
Beauty for the Asking— RKO (67^ min.) 26
Blackwell's Island — First National (70 min.) 38
Blondie Meets the Boss — Columbia (74 min.) 38
Cafe Society — Paramount (83 min.) 30
Code of the Streets— Universal (69 min.) 35
Convict's Code — Monogram (63 min.) 27
Everybody's Baby — 20th Century-Fox (61 min.) 34
Fast and Loose— MGM (79 min.) 31
Flight from Justice — Republic (See "Federal
Man Hunt") 7
Flying Irishman, The— RKO (71 min.) 42
Forged Passport — Republic (6i min.) 35
Headleys at Home, The — Syndicate (59 min. ) 42
Honolulu— MGM (83 min.) 27
Hour.d of the Baskervilles, The — 20th Ccnturv-
Fox (79 min.) 50
Huckleberry Finn— MGM (90^ min.) 30
Ice Follies of 1939, The— MGM (81 min.) 42
Inside Story — 20th Century-Fox (60 min.) 43
I Was a Convict — Republic (63 min.) 39
King of Chinatown — Paramount (56 min.) 46
King of the Turf— United Artists (87^ min.) 27
Let Freedom Ring— MGM (86 min.) 34
Let Us Live — Columbia (68 min. ) 34
Little Princess, The — 20th Century-Fox (91 min.) 46
Love Affair— RKO (88 min.) 47
Made For Each Other— United Artists (94 min.) 26
Midnight — Paramount (93 min.) 47
Mr. Moto in Danger Island — 20th Century-Fox (69 m.) 46
My Son Is a Criminal — Columbia (59 min.) 47
Mystery of Mr. Wong, The — Monogram (67 min.) ... 47
Mystery of the White Room — Universal (58 min.) .... 51
Mystery Plane — Monogram (60 min.) 38
My Wife's Relatives — Republic (64 min.) 50
Never Say Die — Paramount (81 min.) 43
Oklahoma Kid— Warner Bros. (80 min.) 39
One Third of a Nation — Paramount (75 min.) 27
Prison Without Bars — United Artists (77 min.) 35
Risky Business — Universal (67 min.) 46
Romance Is Sacred — Warner Bros. (See "The King
and the Chorus Girl") (1937) 42
Saint Strikes Back, The— RKO (64 min.) 35
Secret Service of the Air — Warner Bros. (61 min.) ... 34
Sergeant Madden— MGM (80 min.) 50
Society Smugglers — Universal (70 inin. ) 43
Spirit of Culver — Universal (90 min.) 39
Stagecoach — United Artists (95 min.) 31
Star Reporter, The — Monogram (62 min.) 39
Sudden Money — Paramount (60 min.) 50
Three Musketeers, The — 20th Century-Fox (72 m.) ... 26
Three Smart Girls Grow Up — Universal (87 min.) .... 51
Trouble in Sundown — RKO (60 min.) 42
Twelve Crowded Hours — RKO (64 min.) 30
What a Woman — Columbia (See "There's That
Woman Again") 206
Whispering Enemies — Columbia (63 min.) 43
Wife, Husband and Friend— 20th Cen.-Fox (79 m.) . . . 30
Within the Law — MGM (64 min.) 51
Woman Doctor — Republic (65 min.) 26
Yes. My Darling Daughter — First National (74 m.).. 42
You Can't Cheat an Honest Man — Universal (79 in.). 31
RELEASE SCHEDULE FOR FEATURES
Columbia Features
(729 Seventh Ave., New York, N. Y.)
9050 The Terror of Tiny Town — Midgets (63m.) .Dec. 1
9202 Rio Grande— Starrett (59m.) Dec. 8
9022 The Strange Case of Dr. Mead— Holt Dec. 15
9U06 There's That Woman Again — Douglas-Bruce Dec. 24
9015 Smashing the Spy Ring— W ray-Bellamy Dec. 29
9035 Homicide Bureau — Cabot-Havworth Jan. 5
9203 The Thundering West— Starrett (58m.) ....Jan. 12
9212 Frontiers of '49— All Star west. (54^m.) . . .Jan. 19
9014 Lone Wolf's Spy Hunt — William-Lupino. .. Jan. 27
9204 Texas Stampede— Starrett (57^ min.) Feb. 9
9038 North of Shanghai— Furness-Craig Feb. 10
9029 My Son Is a Criminal— A. Baxter- Wells ....Feb. 22
9007 Let Us Live— Fonda-O'Sullivan Feb. 28
9009 Blondie Meets the Boss — Singleton-Lake . . . Mar. 8
9213 Lone Star Pioneers— All Star west. (55m.) . .Mar. 16
9023 Whispering Enemies— J. Holt-D. Costello . . Mar. 24
Romance of the Redwoods — Bickford (re.) . .Mar. 24
9205 North of the Yukon— Starrett (64 min.) Mar. 30
9013 The Lady and the Mob — Bainter-Lupino Apr. 3
First Offenders — Abel-Roberts Apr. 12
9214 The Law Comes to Texas — Star west. (58m.) Apr. 16
9206 The Oklahoma Trail— Starrett Apr. 27
Only Angels Have Wings — Grant-Arthur . . .Apr. 30
First National Features
(321 W. 44th St., New York, N. Y.)
351 Angels With Dirty Faces — Cagney-O'Brien ..Nov. 24
370 Comet Over Broadway — Francis-Hunter Dec. 3
362 Heart of the North — Foran-Dickson Dec. 10
359 Going Places — Powell-Louise-Huber Dec. 31
371 Torchy Blane in Chinatown — Farrell Feb. 4
372 Nancv Drew, Reporter — Granville-Thomas ...Feb. 18
357 Yes, My Darling Daughter— P. Lane- Lynn. . .Feb. 25
361 Blackwell's Island — Garfield-R. Lane Mar. 25
354 Dark Victory — Davis-Brent-Fitzgerald Apr. 22
373 Sweepstakes Winner — Wilson-Jenkins (re.) .Apr. 29
Grand National Features
(50 Rockefeller Placa. New York, N. Y.)
Wl-2 Ride 'Em Cowgirl— Dorothy Page (52m.) . Jan. 20
Metro-Goldwyn-Mayer Features
(1540 Broadu-ay, New York, N. Y.)
920 Idiot's Delight— Shearer-Gable Jan. 27
921 Four Girls in White— Rice-A. Marshall Jan. 27
922 Honolulu — E. Powell-Young-Allen-Burns Feb. 3
923 The Adventures of Huckleberry Finn —
Rooney-Connolly Feb. 10
924 Fast and Loose — Russell-Montgomery Feb. 17
926 Let Freedom Ring— Eddv-Bruce-L.Barrvmore.Feb. 24
980 Pygmalion— Hiller-Howard Mar 3
925 The Ice Follies of 1939— Crawford (re.) ....Mar. 10
928 Within the Law— Hussey-Neal-Kelly Mar. 17
927 Sergeant Madden — Beery-Curtis-Brown Mar. 24
930 Society Lawyer — Bruce-Pidgeon Mar. 31
931 Broadway Serenade — MacDonald-Ayres Apr. 7
932 Calling Dr. Kildare — L. Barrymore-Ayres ...Apr. 14
933 Lucky Night — Taylor-Lov Apr '1
929 The Kid from Texas— O'Keefe-Rice Apr. 28
The Hardys Ride High — Stone-Rooney May 5
A Hundred to One Shot — Douglas-Platt May 12
3822
3853
3815
3862
3828
3821
3820
3863
3854
3864
3855
Monogram Features
(1270 Sixth Ave., New York, N. Y.)
Convict's Code— Nagel-R. Kent Jan. 18
Drifting Westward— Jack Randall (49m.) ...Jan. 25
Navy Secrets— W ray-Withers Feb. 1
Sundown on the Prairie— Ritter (53m.) Feb. 8
Little Pal (The Healer)— Reissue Feb. 18
Star Reporter— Hull-Hunt Feb. 22
Mystery of Mr. Wong— Boris Karloff Mar. 1
Rollin' Westward— Tex Ritter (51m.) Mar. 1
Mysterv Plane ( Sky Pirate)— Trent- Young . Mar. 8
Trigger Smith— Randall Mar. 22
Undercover Agent— Gleason-Deane (56m.).. Apr. 5
Streets of New York— Cooper-Spellman Apr. 12
Wanted by Scotland Yard— J. Stephenson . . .Apr. 19
Man from Texas— Tex Ritter Apr. 30
Boys' Reformatory— Frankie Darro May 1
Wolf Call— Movita-J. Carroll May 8
Riders of the Rio Grande— Randall May 26
3817
3818
3819
3820
3821
3822
3823
3824
3825
3857
3826
3863
3827
3828
3829
3858
3830
3831
3832
3833
3834
Paramount Features
(1501 Broadway, Nezv York, N. Y.)
Artists and Models Abroad— Benny Dec. 30
Disbarred — Patrick-Kruger Jan. 6
Zaza— Colberl-Marshall-Lahr Jan. 13
Ambush— Swarthout-Nolan-Henry Jan. 20
Paris Honeymoon — Crosby-Gaal Jan. 27
St. Louis Blues— Nolan-Lamour Feb. 3
Persons in Hiding — Overman-Naish Feb. 10
Boy Trouble— Ruggles-Boland Feb. 17
One Third of a Nation— Sidney-Erikson Feb. 24
Sunset Trail— Boyd-Hayes (68 min.) Feb. 24
Cafe Society— Carroll-MacMurray Mar. 3
The Beachcomber— Laughton-Lanchester ..Mar. 10
King of Chinatown— Wong-Tamiroff Mar. 17
Midnight— Colbert-Ameche-Lederer Mar. 24
Sudden Money— Ruggles-Rambeau Mar. 31
Silver on the Sage — William Boyd (67m. ) . . Mar. 31
I'm from Missouri — Burns-George Apr. 7
Bulldog Drummond's Secret Police —
Howard-Angel- Warner Apr. 14
Never Say Die — Raye-Hope-Cossart Apr. 14
Back Door to Heaven — Erwin-Ford Apr. 21
The Lady's from Kentucky— Raft-Drew Apr. 28
Union Pacific — Stanwyck-McCrea May 5
Some Like It Hot— Hope-Ross-Krupa May 12
Hotel Imperial— Miranda-Milland (re.) May 19
Republic Features
(1776 Broadivay, New York, N. Y.)
808 Woman Doctor— Inescort- Wilcoxon-Jason . . . Feb. 6
823 Forged Passport— Kelly-Lang Feb. 24
824 I Was a Convict— MacLane-Roberts Mar. 6
853 Rough Riders Roundup — Roy Rogers (58m.). Mar. 13
810 My Wife's Relatives — Gleason-Davenport Mar. 20
843 Mexicali Rose— Autry (58 min.) Mar. 27
865 The Night Riders— Three Mesq. (57 min.) . . . Apr. 12
Twentieth Century-Fox Features
(444 W. S6th St., New York, N. Y.)
8010 The Lady Vanishes — Lockwood-Redgrave ..Jan. 6
928 Charlie Chan in Honolulu — Toler-Brooks Jan. 13
926 Mr. Moto's Last Warning — Lorre-Cortez ....Jan. 20
933 Smiling Along — Fields-Maguire-Livesey Jan. 20
921 Jesse James — Power-Fonda-Kelly Jan. 27
929 The Arizona Wildcat— Withers-Carrillo Feb. 3
925 Tail Spin— Faye-C. Bennett-Kelly-Farrell ...Feb. 10
927 The Three Musketeers — Ameche-Ritz Bros. ..Feb. 17
931 Pardon Our Nerve — Bari-Gale-Whalen Feb. 24
930 Wife Husband and Friend — Young-Baxter ...Mar. 3
934 Inside Story — Whalen-J. Rogers-Chandler ...Mar. 10
932 The Little Princess — Temple-Greene Mar. 17
935 Everybody's Baby — Prouty-Deane-Byington .Mar. 24
936 The Hound of the Baskervillcs —
Greene-Rathbone-Barrie-Bruce Mar. 31
937 Mr. Moto in Danger Island — Lorre-Duff ....Apr. 7
938 The Story of Alexander Graham Bell —
Ameche-Young-Fonda-Lockhart Apr. 14
939 Winner Take All— Martin-Stuart- Armetta ..Apr. 21
945 Inspector Hornleigh — Harker-Sim-Geray ....Apr. 21
940 Return of the Cisco Kid — Baxter-Bari Apr. 28
941 Chasing Danger — Foster-Bari- Vernon May 5
942 Rose of Washington Square — Power-Faye ...May 12
943 Police School— Withers-Whelan-Bond May 19
944 The Gorilla — Ritz Bros.-Louise-Norris May 26
RKO Features
(1270 Sixth Ave, New York, N. Y.)
1937- 38 Season
844 Fisherman's Wharf — Breen-Carrillo Feb. 3
838 Story of Vernon and Irene Castle —
Ginger Rogers-Fred Astaire Apr. 28
1938- 39 Season
915 Beauty for the Asking — Ball-Knowles Feb. 24
917 Twelve Crowded Hours— Dix-Ball Mar. 3
918 The Saint Strikes Back — Sanders-Barrie Mar. 10
983 Trouble in Sundown — George O'Brien Mar. 24
920 Almost a Gentleman — Ellison-Wood-Kent ...Mar. 31
916 Love Affair — Boyer-Dunne Apr. 7
919 Flying Irishman — Corrigan-Kelly Apr. 7
921 They Made Her a Spy— Eilers-Lanc Apr. 14
United Artists Features
(729 Seventh Ave., New York, N. Y.)
The Young in Heart — Gaynor-Fairbanks, Jr Nov. 3
The Cowboy and the Lady — Cooper-Oberon Nov. 17
Trade Winds — March-J. Bennett-Sothern Dec. 22
The Duke of West Point — T. Brown-Hayward . . . Dec. 29
Topper Takes a Trip — C. Bennett- Young-Burke . .Jan. 12
Made For Each Other — Lombard-J. Stewart Feb. 10
King of the Turf — Menjou-D. Costello-Abel Feb. 17
Stagecoach — Trevor- Wayne-Devine-Carradine ...Mar. 3
Prison Without Bars— Edna Best Mar. 10
Wuthering Heights — Oberon-Olivier-Niven Apr. 7
Zenobia — Hardy-Burke-Langdon-Brady Apr. 21
Captain Fury — McLaglen-Aherne-Lang May 5
A3056
A3005
A3024
A3029
A3014
A3037
A3001
Universal Features
(1250 Sixth Ave., New York, N. Y.)
The Phantom Stage— Bob Baker (57m.) . . .Feb. 10
You Can't Cheat an Honest Man — Fields . .Feb. 17
Society Smugglers — Foster-Hervey Feb. 24
Risky Business — G. Murphy-D. Kent Mar. 3
Spirit of Culver — Cooper-Bartholomew ..Mar. 10
Mystery of the White Room— Cabot-Mack. Mar. 17
Three Smart Girls Grow Up — Durbin (re.) Mar. 24
The Family Next Door — Herbert-Hodges .Mar. 31
East Side of Heaven — Crosby-Blondell . . . .Apr. 7
Big Town Czar — E. Sullivan-B. MacLane. .Apr. 21
For Love or Money — Lang-Kent Apr. 28
Code of the Streets — Carey-Thomas, Jr. ..May 5
Hawaiian Holiday — Cast not set May 19
Sun Never Sets — Fairbanks, Jr May 26
Warner Bros. Features
(321 W. 44th St., Nezv York, N. Y.)
319 Nancy Drew, Detective — Granville-Litel Nov. 19
303 The Dawn Patrol — Flynn-Rathbone-Niven ..Dec. 24
313 Devil's Island — Karloff-Harrigan Jan. 7
317 King of the Underworld — Bogart Jan 14
314 Off the Record— O'Brien-Blondell Jan. 21
307 They Made Me a Criminal — Garfield Jan. 28
309 Wings of the Navy — Brent-deHavilland Feb. 11
320 Secret Service of the Air — Reagan-Litel Mar. 4
308 The Oklahoma Kid — Cagney-Bogart-R. Lane. Mar. 11
321 The Adventures of Jane Arden — Towne (re.) .Mar. 18
323 On Trial — Lindsay-Litel-Norris Apr. 1
304 Dodge City — Flynn-deHavilland-Sheridan ...Apr. 8
316 Women in the Wind — Francis-Gargan-Jory . .Apr. 15
SHORT SUBJECT RELEASE SCHEDULE
Paramount — One Reel
9854
9505
9803
9654
9902
9855
9753
9961
9506
9804
9704
9655
9553
9856
9507
9656
9962
9754
9857
9805
9657
9508
9705
9903
9858
9658
9184
9405
9185
9186
9430
9187
9188
9431
9189
9190
9406
9191
9192
9432
9193
9194
9433
9195
Columbia — One Reel
Screen Snapshots No. 4 — (9^m.) Dec. 15
The Kangaroo Kid — Color Rhapsody (7]/2m.) Dec. 23
King Vulture— Sport Thrills (10^m.) Dec. 23
Community Sing No. 4 — (lO^m.) Dec. 30
Washington Parade — Issue #2 ( 11m.) Jan. 6
Screen Snapshots No. 5 — (9m.) Jan. 6
Scrappy's Added Attraction — Scrappys
(6y2m.) Jan. 13
A Night In a Music Hall — Music Hall
Vanities (11m.) Jan. 20
Peaceful Neighbors — Color Rhap. (8m.) ....Jan. 26
Odd Sports— Sport Thrills (9/2m.) Jan. 27
Krazy's Bear Tale — Krazy Kat (7l/>m.) ....Jan. 27
Community Sing No. 5 — (9>^m.) Jan. 27
Big Town Commuters — Tours (9m.) Feb. 3
Screen Snapshots No. 6 — -(10m.) Feb. 17
The Gorilla Hunt— Col. Rhapsody (7^m.) . . Feb. 24
Community Sing No. 6 Feb. 24
A Night at the Troc — Vanities (10^m.) Mar. 2
Scrappy's Side Show — Scrappys {&/2m.) ...Mar. 3
Screen Snapshots No. 7 — i.9l/2m.) Mar. 17
Navy Champions (Get Ready Navy) —
Sport Thrills (9^m.) (reset) Mar. 17
Community Sing No. 7— (10^m.) Mar. 24
Happy Tots — Color Rhapsody (6l/2m.) Mar. 31
Golf Chumps — Krazy Kat Apr. 6
Washington Parade — Issue S3 (reset) Apr. 7
Screen Snapshots No. 8 Apr. 8
Community Sing No. 8 Apr. 21
Columbia — Two Reels
The Falcon Strikes— G-Men 84 (16^m.) ...Feb. 18
We Want Our Mummy — Stooges (\6l/2m.) . .Feb. 24
Flight from Death— G-Men 85 (19m.) Feb. 25
Phantom of the Sky— G-Men #6 (19j,4m.) . .Mar. 4
The Sap Takes a Rap — All star com. ( 16m.) . Mar. 10
Trapped by Radio — G-Men #7 (\Sy2m.) . . . .Mar. 11
Midnight Watch— G-Men 88 (16^m.) .. . . .Mar. 18
Boom Goes the Groom — All star com. (17m.). Mar. 24
Wings of Death— G-Men 89 (18m.) Mar. 25
Flaming Wreckage — G-Men #10 Apr. 1
A Ducking They Did Go — Stooges (16m.) . .Apr. 7
While a Nation Sleeps — G-Men SI 1 Apr. 8
Sealed Orders— G-Men #12 Apr. 15
A Star Is Shorn— All star (17m.) Apr. 21
Flame Island — G-Men 813 Apr. 22
Jaws of Death— G-Men #14 Apr. 29
The Chump Takes a Bump — All star com. . . . May 5
The Falcon's Reward — G-Men #15 May 6
Metro-Goldwyn-Mayer — One Reel
C-935 Alfalfa's Aunt— Our Gang (11m.) Jan. 7
S-904 Double Diving— Pete Smith (8m.) Jan. 14
T-856 Ancient Egypt— Traveltalk (9m.) Jan. 21
K-922 New Roadways — Passing Parade (10m.) ..Jan. 28
F-954 How to Sublet— Benchley (8m.) Jan. 28
W-881 Seal Skinners — Cartoons (8m.) Jan. 28
M-876 Ice Antics — Miniatures (9m.) Feb. 11
S-905 Heroes at Leisure— Pete Smith (10m.) Feb. 11
W-882 Mama's New Hat— Cartoons (8m.) Feb. 11
T-857 Imperial Delhi— Traveltalks (8m.) Feb. 18
K-923 The Story of Alfred Nobel-
Passing Parade (11 min.) Feb. 18
C-936 Tiny Troubles— Our Gang (10m.) Feb. 18
W-883 Jitterbug Follies— Cartoons (9m.) Feb. 25
S-906 Marine Circus — Pete Smith (tech.) Mar. 11
C-937 Duel Personalities — Our Gang (10m.) ....Mar. 11
W-884 Wanted No Master— Cartoons (8m.) Mar. 18
F-955 An Hour for Lunch— Benchley (9m.) ....Mar. 18
K-924 Story of Dr. Jenncr— Pass. Par. ( 10m.) . . . Mar. 18
T-858 Java" Journey— Traveltalks (8m.) Mar. 18
M-877 Love on Tap — Miniatures (11m.) Mar. 18
Metro-Goldwyn-Mayer — Two Reels
R-803 A Dream of Love— Musical (17m.) Jan. 28
P-812 Money to Loan — Crime Doesn't Pav (21m.) Mar. 11
R-804 Somewhat Secret— Musicals (21m.) Mar. 25
L8-3 Unusual Occupations #3— (10m.) Dec. 2
K8-3 Costa Rica — Color Cruises (9m.) Dec. 2
P8-5 Paramount Pictorial 85— (8^m.) Dec. 9
V8-5 Oh Say, Can You Ski— Para. (lOj^m.) Dec. 16
R8-6 Frolicking Frogs— Sport. (9J4m.) Dec. 23
T8-5 Pudgy in Thrills and Chills— B. B. (5^m.) .Dec. 23
E8-5 Cops Is Always Right— Popeye (7m.) Dec. 30
C8-3 Always Kickin' — Color Classic (7m.) Jan. 6
A8-6 A Song is Born— Headliner (9y2m.) Jan. 6
P8-6 Paramount Pictorial 86— (9m.) Jan. 6
J8-3 Popular Science 83 — (10m.) Jan. 6
V8-6 The Unfinished Symphony — Para. (10m.) . . .Jan. 13
T8-6 My Friend the Monkev — B. Boop (6m.) Jan. 20
R8-7 Two Boys and a Dog— Sport. (9^m.) Jan. 20
E8-6 Customers Wanted — Popeye (7m.) Jan. 27
K8-4 Land of Inca Memories — Color Cruise (9m.) .Jan. 27
A8-7 Music Through the Years— Head. (10m.) ...Feb. 3
P8-7 Paramount Pictorial #7— (8^m.) Feb. 3
L8-4 Unusual Occupations 84 — (10m.) Feb. 3
V8-7 That's Africa— Paragraphic (9m.) Feb. 10
R8-8 Hold Your Breath— Sportlight (9m.) Feb. 17
A8-8 Champagne Music of Lawrence Welk —
Headliner (9l/2 min.) Mar. 3
P8-8 Paramount Pictorial 88— (9^m.) Mar. 3
V8-8 Circus Co-Ed— Paragraphic (9^m.) Mar. 10
J8-4 Popular Science 84— (10m.) Mar. 10
R8-9 The Sporting Irish— Sportlight (9j4m.) . . . .Mar. 17
K8-5 Republic of Panama — Cruises (Sj/2m.) ....Mar. 24
T8-7 So Does an Automobile — Boop (6m.) (re.). Mar. 31
A8-9 Three Kings and a Queen— Head. (10^m.) .Apr. 7
P8-9 Paramount Pictorial 89— (9^m.) Apr. 7
V8-9 Fisherman's Pluck — Paragraphic (9m.) Apr. 14
R8-10 Good Skates— Sportlight (9m.) Apr. 14
L8-5 Unusual Occupations 85 Apr. 14
C8-4 Small Fry — Color Classic Apr. 21
E8-7 Leave Well Enough Alone — Popeye (re.) ..Apr. 28
Paramount — Two Reels
EE8-1 Aladdin and His Wonderful Lamp —
Technicolor Popeye special (2\!/2m.) ...Apr. 7
RKO — One Reel
94060 Gold— Reelism (9m.) Feb. 10
94207 Readin' Ritin' and Rhythm— NuAtlas (10m.) Feb. 17
94307 Snow Falls — Sportscope (9m.) Feb. 24
94109 Practical Pig— Disney (8m.) Feb. 24
94607 Air Waves— Reelism (10m.) Mar. 10
94110 Goofy and Wilbur— Disney cart. (8m.) . . . .Mar. 17
94208 Samovar Serenade — Musical (10m.) Mar. 17
94308 Sporting Wings — Sportscope (9m.) Mar. 24
94608 Soldiers of the Sea— Reelism Apr. 7
94111 The Uglv Duckling— Disney cart. (9m.) ..Apr. 7
94209 Hello Mama— NuAtlas Apr. 14
94309 Not Yet Titled— Sportscope Apr. 21
94112 Hockey Champ — Disney cartoon Apr. 28
RKO — Two Reels
93107 March of Time— (19m.) Feb. 17
93603 Swing Vacation— Headliner (19m.) Feb. 24
93704 Home Boner— Leon Errol— (20m.) Mar 10
93108 March of Time— (18m.) Mar. 17
93403 Clock Wise— Edgar Kennedv (16m.) Mar. 24
93503 Ranch House Romeo— Rav Whitley (17m.). Apr. 7
93109 March of Time Apr 14
93203 Dog Gone— Radio Flash (16*/>m.) Apr. 21
9303
9510
9105
9527
9603
9511
9304
9512
91 06
Twentieth Century-Fox — One Reel
Hunting Dogs— Sports (10j/>m.) Mar. 3
Gandy Goose in G-Man Jitters —
Terry-Toon (6]/2 min.) Mar. 10
Mystic Siam — Lowell Thomas (10m.) Mar. 17
The Nutty Network— Terry-Toon Mar. 24
Fashion Forecasts No. 3 Mar. 31
The Cuckoo Bird — Terry-Toon Apr. 7
Inside Baseball — Sports Apr. 14
Their Last Bean — Terry-Toon Apr. 21
Good Neighbors — Lowell Thomas Apr. 28
A3358
A3250
A3371
A3359
A3251
A3252
A3372
A3253
A3373
A3786
A3787
A3788
A3789
A3228
A3790
A3791
A3792
A3881
A3229
A3882
A3883
A3884
Universal — One Reel
Going Places With Thomas #60 — (10m.) . .Feb. 20
Birth of a Toothpick — Lantz cart. (7'/2m.) .Feb. 27
Stranger Than Fiction $60 — (9m.) Mar. 6
Going Places With Thomas £61 — (9m.) . . .Mar. 13
Little Tough Mice — Lantz cart. (7m.) Mar. 13
One Armed Bandit — Lantz cart. (7m.) .... Mar. 27
Stranger Than Fiction #61 — (9m.) Apr. 3
Crack Pot Cruise — Lantz cart. (6}^m.) . . .Apr. 10
Stranger Than Fiction £62 May 1
Universal — Two Reels
Ghost Town Menace — Scouts 96 (20m.) . . .Feb. 21
Destroyed by Dynamite— Scouts 97 ( 19m.) .Feb. 28
Thundering Hoofs — Scouts $8 (17m.) Mar. 7
The Fire God Strikes— Scouts $9 (18m.) . .Mar. 14
Bank Notes — Mentone (19m.) Mar. 15
Battle of Ghost Town — Scouts 810 (10m.) .Mar. 21
Hurtling Through Space— Sc. 811 (20m.) . Mar. 28
The Boy Scouts Triumph— Sc. Jtl2 (17m.) .Apr. 4
Tomorrow's World — Rogers It 1 (21m.) ...Apr. 11
Cafe Boheme — Mentone (17m.) Apr. 12
Tragedy on Saturn — Rogers #2 (21m.) . . . .Apr. 18
The Enemy's Stronghold — Rog. $3 (21m.) .Apr. 25
The Sky Patrol— Rogers 54 ( 20m.) May 2
NEWSWEEKLY
NEW YORK
RELEASE DATES
Vitaphone — One Reel
4506 Daffy Duck in Hollywood— Mer. Mel. (8m.) .Dec. 3
4705 Happy Felton & Orch.— Mel. Mast. (10m.).. Dec. 3
4304 Treacherous Waters — True Adv. (10m.) Dec. 10
4904 Robbin' Good— Vit. Varieties (10m.) Dec. 10
4805 Porky the Gob — Looney Tunes (8m.) Dec. 17
4507 Count Me Out— Merrie Melodies (7m.) Dec. 17
4706 Dave Apollon & Orch.— Mel. Mast. (11m.) . .Dec. 24
4508 The Mice Will Play— Mer. Mel. (7m.) Dec. 31
4605 Mechanix Illustrated 52 — Col. Par. (10m.) ..Jan. 7
43'J5 Human Bomb — True Adv. (11m.) Jan. 7
4707 Clyde Lucas & Orch.— Mel. Mast. (10m.) ...Jan. 7
4806 The Lone Stranger & Porky — -L. Tunes (7m.). J an. 7
4509 Doggone Modern — Mer. Mel. (7m.) Jan. 14
4905 Ski Girl— Varieties (8m.) Jan. 14
4708 Blue Barron & Orch.— Mel. Mast. (8m. ) . . . . Jan. 21
4510 Ham-ateur Night— Mer. Mel. (8m.) Jan. 28
4807 It's an 111 Wind— L. Tunes (7m.) Jan. 28
4606 Points on Pointers — Color Par. (9m.) Jan. 28
4709 Jerry Livingston & Orch.— Mel. M. (10m.).. Feb. 4
4511 Robinhood Makes Good— Mer. Mel. (8m.) ..Feb. 11
4306 High Peril— True Adv. (9m.) (re.J Feb. 18
4808 Porky's Tire Trouble — L. Tunes (7m.) Feb. 18
4906 Gadgeteers— Varieties (11m.) Feb. 18
4403 The Master's Touch— Tech. Spec. (9m.) . . . .Feb. 18
4607 Mechanix Illustrated S3— Color Par. ( 10m.) .Feb. 25
4512 Goldrush Daze— Mer. Mel. (7m.) Feb. 25
4710 Russ Morgan & Orch.— Mel. Mast. (9m.) ...Feb. 25
4307 A Minute from Death— True Adv. (11m.) . . .Mar. 4
4403 The Master's Touch— Tech. Spec. (9m.) Mar. 11
4513 A Day at the Zoo— Mer. Mel. (8m.) Mar. 11
4809 Porky's Movie Mystery— L. Tunes (7m.) . . .Mar. 11
4907 Tax Trouble— Varieties (11m.) Mar. 18
4712 Clyde McCoy & Orch.— Mel. Mast. (9m.) ..Mar. 18
4608 The Roaming Camera — Color Par. (9m.) ...Mar. 25
4514 Prest-o Change-o— Mer. Mel. (7m.) Mar. 25
4308 Chained— True Adv. (11m.) Apr. 1
4810 Chicken Jitters — Looney Tunes (614m.) ...Apr. 1
4515 Bars and Stripes Forever — Mer. Mel. (8m.). Apr. 8
4711 Dave Apollon & Orch.— Mel. Mast. (10m.).. Apr. 8
4908 The Right Way— Varieties Apr. 15
4811 Porkv and Teabiscuit — Looney Tunes Apr. 22
4516 Daffy Duck & Dinosaur— Mer. Mel. (8m.) ..Apr. 22
4609 Mechanix Illustrated #4 Apr. 22
4713 Artie Shaw & Orch.— Mel. Mast Apr. 29
Vitaphone — Two Reels
4020 Sundae Serenade— Bway. Brev. (17m.) Feb. 25
4022 Projection Room — Bwav. Brev. (19m.) ....Mar. 4
4023 Home Cheap Home— Bway. Brev. (18m.) ...Mar. 18
4024 A Fat Chance— Bwav. Brev. (18m.) Mar. 25
4025 Rollin' in Rhythm— Bway. Brev. (18m.) Apr. 15
4005 Sons of Liberty— Technicolor (21m.) Apr. 22
4026 Seeing Spots — Pway. Brev Apr. 29
Universal
758 Saturday . .
759 Wednesday
760 Saturday . .
761 Wednesday
762 Saturday . .
763 Wednesday
764 Saturday . .
765 Wednesday
766 Saturday . .
767 Wednesday
768 Saturday . .
769 Wednesday
770 Saturday . .
.Apr. 1
..Apr. 5
..Apr. 8
..Apr. 12
..Apr. 15
. .Apr. 19
. . Apr. 22
. . Apr. 26
. . Apr. 29
, . May 3
. . May 6
. . May 10
. .May 13
Fox Movietone
58 Saturday Apr. 1
59 Wednesday ...Apr. 5
60 Saturday Apr. 8
61 Wednesday ...Apr. 12
62 Saturday Apr. 15
63 Wednesday . . .Apr. 19
64 Saturday Apr. 22
65 Wednesday . . . Apr. 26
66 Saturday Apr. 29
67 Wednesday . . . May 3
68 Saturday May 6
69 Wednesday . . .May 10
70 Saturday May 13
Paramount News
69 Saturday Apr. 1
70 Wednesday ...Apr. 5
71 Saturday Apr. 8
72 Wednesday ...Apr. 12
73 Saturday Apr. 15
74 Wednesady . . . Apr. 19
75 Saturday Apr. 22
76 Wednesday . . . Apr. 26
77 Saturday Apr. 29
78 Wednesday . . . May 3
79 Saturday May 6
80 Wednesday ...May 10
81 Saturday May 13
Metrotone News
256 Saturday . .
257 Wednesday
258 Saturday . .
259 Wednesday
260 Saturday . .
261 Wednesday
262 Saturday . .
263 Wednesday
264 Saturday . .
265 Wednesday
266 Saturday . .
267 Wednesday
268 Saturday ..
..Apr. 1
..Apr. 5
..Apr. 8
. .Apr. 12
..Apr. 15
. .Apr. 19
..Apr. 22
. . Apr. 26
..Apr. 29
..May 3
..May 6
..May 10
. . May 13
Pathe News
95173
95274
95175
95276
95177
95278
95179
95280
951 SI
95282
95183
95284
95185
Sat. (O.).
Wed. (E.)
Sat. (O.).
Wed. (E.)
Sat. (O.).
Wed. (E.)
Sat. (O.).
Wed. (E.)
Sat. (O.).
Wed. (E.)
Sat. (O.).
Wed. (E.)
Sat. (O.).
.Apr. 1
. Apr. 5
.Apr. 8
.Apr. 12
.Apr. 15
.Apr. 19
.Apr. 22
.Apr. 26
. Apr. 29
.May 3
. May 6
. May 10
.May 13
IN TWO SECTIONS— SECTION ONE
Entered as second-class matter January 4, 1921, at the post office at New York, New York, under the act of March 3, 1879.
Harrison's Reports
Yearly Subscription Rates: 1270 SIXTH AVENUE Published WeekJy by
United States $15.00 R™m 1 ftl 9 Harrison's Reports, Inc.,
U. S. Insular Possessions. 16.50 Publisher
Canada 16.50 New York, N. Y. P. S. HARRISON, Editor
Mexico, Cuba, Spain 16.50 . ,, _ _. . _ _ .
Great Britain 15 75 A Motion Picture Reviewing Service
Australia, New ' Zealand,' Devoted Chiefly to the Interests of the Exhibitors Established July 1, 1919
India, Europe, Asia ... . 17.50
p Its Editorial Policy: No Problem Too Big for Its Editorial Circle 7-4622
„oc a. ^ovy Columns, if It is to Benefit the Exhibitor.
A REVIEWING SERVICE FREE FROM THE INFLUENCE OF FILM ADVERTISING
Vol. XXI SATURDAY, APRIL 15, 1939 No. 15
FACTS MR. W. F. RODGERS MUST
BEAR IN MIND
From his testimony before the Subcommittee of the Sen-
ate Committee on Interstate Commerce, which has con-
ducted the hearings on the Neely Bill, one gathers the im-
pression that Mr. W. F. Rodgers, de facto head of the
distributor committee that has been negotiating with ex-
hibitor representatives for trade reforms, has been irked
because the Allied leaders have failed to accept the final
reforms draft, which was submitted to them on the first day
of April. Early last year Mr. Rodgers, having made a
favorable impression with them for honesty of purpose and
fair dealing, was given to understand that, if a distributor
committee were appointed to negotiate with Allied for
trade reforms, it would receive their support, provided he
were to head such committee. And now he seems to be dis-
appointed because Allied has failed to accept these reforms.
For him to understand why Allied, in my personal opin-
ion, has refused to accept the final distributor proposals,
Mr. Rodgers must bear in mind several factors.
The first factor is the mistake the distributors made in
inviting into these conferences representatives of Motion
Picture Theatre Owners of America. Mr. Rodgers was
warned in the very beginning that, since this organization,
the producers' stepchild, has been used by them to thwart
the exhibitors in their efforts to obtain legislative relief,
the dragging of it into the conferences would cause the
confidence of the independent exhibitors in the producer
sincerity to be destroyed ; the exhibitors would feel that
the producers are not any more sincere now than they were
in the past.
The fact that the meetings with representatives of this
organization were held separately does not seem to have
made much difference ; the exhibitors know that this or-
ganization is supported with producer money and cannot
believe that the presence of its representatives in exhibitor-
producer conferences for trade reforms would bring any
benefit to the independent exhibitors.
The second mistake was the fact that the distributor
committee told the Allied committee, at the very first meet-
ing, that discussion of block-booking and theatre-divorce-
ment definitely and irrevocably would not be discussed. At
that meeting, some members of the Allied committee felt
that, what they should have done should be to take their
hats and say to the members of the distributor committee :
"Good day, gentlemen ! We'll see you in Washington," and
go. There was no use, as they saw it, starting negotiations
for trade reforms with a committee that had been instructed
beforehand how much they were to give and how far they
were to go, for under these circumstances they would be
dealing with men who were not to determine what is fair
and what unfair, but merely what has been decided upon.
They have not yet forgotten the money Allied spent and
the time it wasted during the 5-5-5 conferences. They had
not doubted the sincerity of Mr. Kent then, just as they do
not doubt the sincerity of Mr. Rodgers now, but since those
efforts of theirs came to nothing, because the producers
failed to adopt the reforms, they feared lest it be a repetition
of what happened then. Hut others felt that another etT.n l
was worth making ; and they stayed.
Did the distributor-lawyers' dilatory tactics help mat-
ters? Not at all; the exhibitor representatives saw that,
instead of meeting men to men and deciding what is to be
done to bring peace, they were dealing with the same law-
yers who, from behind the scenes, have frustrated every
independent exhibitor effort to come to an understanding
with the producers. The fact that these lawyers have em-
ployed the same tactics as before — obscurity of language,
the effect of which would undoubtedly have been to take
away with the left hand what the right hand gave, did not
contribute to the building up of the confidence so necessary
in negotiations of this kind.
The misunderstanding as to whether there was or there
was not "an agreement in principle" in Chicago, played up
by some trade papers, further contributed to arouse suspi-
cion in the minds of the Allied committee. Mr. Rodgers may
not have been responsible for that— the misunderstanding
may have been one of those natural happenings in life ; but
it did not help.
The failure of the distributors to come forward with an
arbitration plan, so close to the heart of the Allied organi-
zation, is an additional contributory cause. "... any pro-
posals," last week's Allied statement said, "to merit con-
sideration, must contain all the details of arbitration. ..."
The other important factors Mr. Rodgers must take into
consideration are these :
The methods that were employed by Paramount to kill
the theatre-divorcement law in North Dakota.
The fact that Allied finds it difficult to let down the
public groups that are seeking the enactment of the Neely
Bill. Allied sought their cooperation in its efforts to have
the Brookhart Bill, and afterwards the Neely Bill, enacted
into a law by Congress. And they gave it unstintedly. How
can it now say to these groups : "We are giving up our
fight, because we have obtained a modicum of concessions
in the selection of pictures"? It would not sound very well.
After all, it was due to the aid the public groups have given
to it that Allied was able to have the Neely Bill put through
the Senate last year. And it has been the fear that the
Neely Bill may, after all, become a law, that has prompted
the producers to give as high a cancellation privilege as
20% in some cases. Without the passage of the Neely Bill
by the Senate, it is doubtful whether the producers would
have gone so far. Consequently Allied is, in a way, under a
moral obligation to these groups.
The failure of the producers to offer to the exhibitors a
solution of the problem of theatre ownership — a problem
which Allied considers the root of all the trade abuses. As
a matter of fact, the producers have refused, as said, even
to discuss it, let alone to solve it.
But the most important factor is the suit that the U. S.
Government has brought against the producers. The Allied
leaders undoubtedly feel that, since the producers have
refused to discuss separation of theatres, and since the
U. S. Government's action seeks to bring this about, they
might just as well wait for the suit to be tried, in the mean-
time offering to the Government whatever aid they can tor
the winning of the suit. If the Government should win it, not
only this but all the other abuses will be eradicated.
An additional reason why Allied is willing, in the opinion
of this paper, to wait for the Government's suit, even if the
concessions the producers are now offering were to be
highly satisfactory to the independent exhibitors, is the fact
that it has no means to compel the distributors to adopt
these reforms permanently. They no doubt feel that a
change in administration in Washington may enable them
to cancel these concessions. And who dares say that they
will not cancel them under such circumstances? Hut they
cannot disregard a court decision.
58
HARRISON'S REPORTS
April 15, 1939
"The Story of Alexander Graham Bell"
with Don Ameche, Loretta Young
and Henry Fonda
(20th Century-Fox, April 14; time,961/2 mm.)
A pretty good box-office attraction. It is a fairly in-
teresting drama revolving around the struggles of
Alexander Graham Bell to perfect his telephone inven-
tion; but the story does not concentrate entirely on the
technical end, for the romance, enacted delightfully by
Ameche and Miss Young, plays an important part in
the development of Bell's career. The character of Bell,
as portrayed by Ameche, is a fine one; he wins one's
sympathy by his idealistic approach to his work. One
of the most touching situations is that in which he is
able to train a young boy, who was a deaf-mute, to
utter the word "father" to his grieving parent. Henry
Fonda, as an assistant, supplies the lighter mood by his
constant grumbling because of the lack of food: —
Bell, assisted by Thomas Watson (Henry Fonda),
works under trying conditions to perfect a new tele-
graphic invention. Through the aid of Thomas Sanders
(Gene Lockhart), who appreciated the work Bell was
doing in training his young son, a deaf-mute. Bell meets
Gardner Hubbard (Charles Coburn), who shows will-
ingness to finance Bell in his work. Bell falls in love
with Hubbard's eldest daughter (Loretta Young), who
was deaf. She did not consider it a handicap, however,
for she was an expert lip-reader, and could thus hold
regular conversations. Bell provokes Hubbard's criti-
cism when he drops his work on the telegraph to devote
his talents to a new invention, the telephone. Hubbard
withdraws his financial aid, and forbids Bell to see his
daughter. Discouraged by his inability to make prog-
ress, and disheartened by being separated from the girl
he loved, Bell is about ready to give up. But Miss Hub-
bard visits him and insists that he go on with his work.
Finally, at a public demonstration of the telephone,
Hubbard is convinced of its practicability, and shows
willingness to invest more money in it: at the same
time he gives his consent to the marriage. Just when
things begin to look bright, a rival company puts out a
similar instrument. Bell and his partners bring a suit
against them, and finally come out victorious. Bell is
doubly happy, for not only was his business good, but
he had become a father.
Ray Harris wrote the story, and Lamar Trotti, the
screen play; Irving Cummings directed it. and Ken-
neth Macgowan produced it. In the cast are Spring
Byington, Sally Blane, Polly Ann Young, Georgiana
Young, Bobs Watson, and others.
Suitability. Class A.
"Bulldog Drummond's Secret Police" with
John Howard and Heather Angel
(Paramount, April 14; time, 54 min.)
A fair program melodrama. The story is a little
weaker than some of the others in this series; as a
matter of fact, it is so thin, that in one situation, where
the hero is supposed to be having a dream, exciting
scenes from previous pictures have been inserted. The
photography in some spots is so dark that it is difficult
for one to see what is happening. It does, however, end
in a thrilling way, — with an exciting chase through an
eerie underground passage. One is held in suspense
during these situations, because of the danger to the
heroine, who was held as hostage by the villain. There
is plentiful comedy, which is provoked by the blunder-
ing efforts of the hero's friend. And again the marriage
plans of the hero and the heroine are thwarted: —
On the eve of his marriage. John Howard (Bulldog
Drummond) receives a visit from a professor (For-
rester Harvey). He is surprised when Harvey tells him
that he had discovered, through research work, the
fact that a treasure was hidden in an underground pas-
sage under Howard's home; it had been hidden there
by an ancestor. Crged by his fiancee (Heather Angel)
not to look for trouble, Howard decides to let the
matter go. But that night, he is attacked; and the book
containing the secret code to the hiding place that he
had been reading is stolen. And the professor is killed.
It develops that the new butler (Leo Carroll), who had
been engaged to assist at the wedding, was in reality an
escaped criminal who knew about the professor's dis-
covery. He kidnaps Miss Angel and forces her to go
with him through the secret tunnel. By following in-
structions, he finds the treasure. But Howard and his
friends had found the secret entrance and had followed
him. Carroll tries to trap the men; but Miss Angel, by
throwing the treasure into the whirlpool beneath them,
gets Carroll away from the lever controlling the iron
door. She pulls the lever up, freeing the men. In a gun
fight, Carroll is shot, falling to his death. Again the
wedding is postponed; this time by an explosion.
The plot was adapted from the story by H. C. Mc-
Neile; Garnett Weston wrote the screen play; James
Hogan directed it, and Edmund T. Lowe produced it.
In the cast are H. B. Warner, Elizabeth Patterson,
Reginald Denny, E. E. Give, and others.
Suitability, because of the murder, Class B.
"On Trial" with John Litel, Margaret
L'ndsay and Janet Chapman
{Warner Bros., April 1 ; time, (A min.)
Just a moderately entertaining courtroom melo-
drama, of program grade. Produced twice before (once
in 1917 and again in 1928). the story, judging by present
times, is rather old-fashioned. One feels sympathy for
both the hero and the heroine, but this does not suffice
to hold one's attention. A bad feature is the fact that
murder is condoned; the hero is finally set free even
though it was he who had committed the murder. In
the picture produced in 1928, it was shown that the
hero had been accused of the murder unjustly, the dead
man's secretary being shown as the guilt}' person. The
situation where little Janet Chapman testifies in court on
behalf of her father is powerful; she speaks her lines so
well, and acts with such emotional understanding, that
the spectator is held spellbound. There is very little else
to recommend it. The action takes place in a courtroom
with flashbacks to tell the story: —
John Litel suspects that his wife (Margaret Lind-
say), whom he loved, had had an affair with James
Stephenson, a friend of his. Litel goes to Stephenson's
home and kills him. He is arrested. Since he refused to
testify at the trial, the District Attorney sets up a case
whereby he tries to prove that Litel had gone there
with the intention of robbing Stephenson's safe of
$20,000, and that, when Stephenson surprised him, he
had killed him. Miss Lindsay who, shocked by the
course of events, had been taken to a hospital, recovers
sufficiently to go to court to testify for her husband.
She tells the Court that, before she had met Litel, she
had known Stephenson, who, unknown to her, had been
married. She had arranged to elope with him. but had
been saved by the timely arrival of Stephenson's wife
(Nedda Harrigan). She had then married Litel, and
had found happiness with him and their child. She had
accidentally met Stephenson, who threatened to tell
her husband lies about her unless she visited him at his
summer home; she had gone there to plead with him to
leave her alone. Litel had misunderstood and killed him.
Litel's attorney then proves that the robbery had been
committed by Stephenson's secretary. The jury finds
Litel not guilty.
The plot was adapted from the play by Elmer Rice;
Don Ryan wrote the screen play, Terry Morse directed
it. and Bryan Foy produced it. In the cast are Edward
Norris, Larry Williams, William Davidson, and others.
Unsuitable for children. Class B.
April 15, 1939
HARRISON'S REPORTS
59
"First Offenders" with Walter Abel,
Beverly Roberts and Johnny Downs
{Columbia, April 12; time, 61 min.)
Just a moderately entertaining program melodrama.
The story is in some respects unpleasant, for it revolves
mainly around a young man for whom one feels little
sympathy. The fact that he had killed his young sweet-
heart under a suicide pact, losing courage when it came
to killing himself, immediately brands him as a coward.
His actions later cause one to feel even more dislike for
him, since they are motivated by a desire for revenge
on the District Attorney, who, in line with his duty, had
brought about this young man's conviction on a charge
of murder. One feels sympathy for the District Attor-
ney, who gives up a career as a public prosecutor in
order to help young men establish themselves as decent
citizens. The romance is mildly pleasant: —
Johnny Downs, after having served a term for the
murder of his sweetheart, is released from prison; he
heads for the farm for young men established by the
former District Attorney (Walter Abel), who had
prosecuted him, his intention being to kill him. But
Abel stops him from doing this, and, instead, offers him
his friendship. Downs decides to stay at the farm, but
insists that he would get even with Abel in some way.
His opportunity comes at a party given for the spon-
sors of the farm; he steals the personal belongings of
some of the guests. This causes an uproar, and the
sponsors decide to withdraw their backing. Abel rushes
after Downs and prevents him from joining forces with
two crooks, who had planned a holdup. He takes him
to the scene of the crime, to which the police had been
tipped off; Downs breaks down when he sees the police
shoot the two crooks. Ashamed of himself, he returns
the things he had stolen. The sponsors once again back
Abel, making every one, including Downs, happy.
J. Edward Slater wrote the story, and Walter Wise,
the screen play; Frank McDonald directed it. In the
cast are Iris Meredith, Diana Lewis, John Hamilton,
and others.
Unsuitable for children or adolescents. Class B.
"Streets of New York" with Jackie Cooper
and Martin Spellman
{Monogram, April 12; time, 72 min.)
A very good entertainment; it centers around young
boys of the streets. It has human interest, plentiful
comedy, and some action of the gangster type. The
performances by Jackie Cooper and Martin Spellman
are outstanding; they win one's sympathy by their ac-
tions. One's interest is held well, for the plot is de-
veloped in a realistic manner. One of the most appeal-
ing .situations is that depicting Christmas Day, in which
young Spellman, who was crippled and had little faith
in mankind, is made happy through the generosity of
a kind Judge. There is no romance.
In the development of the plot, Jackie Cooper, who
ran a newsstand during the day and studied law at
night, refuses to accept any help from his gangster
brother (Dick I'urcell), even though he was tormented
by a young hoodlum, who wanted to take his newsstand
away. Cooper lives in a basement room with young
Spellman, a crippled orphan newsboy, who worked for
him; besides all his other work, he had undertaken to
care for the boy. Cooper conies to the attention of a
Judge (George Irving), whom he had impressed by his
intelligence. The Judge invites Cooper, with all the
boys who worked for him, to his home for Christmas
dinner, surprising each one with a gift; this brings joy
to them. But Cooper is downcast when he reads about
the murderous activities of his brother. The brother
gits into real trouble when he kills two persons in .in
effort to compel the owner of a trucking concern to join
his "protective" association. He tries to hide out in
Cooper's room; but Cooper refuses to help him. In a
fight with Cooper, Purcell shoots young Spellman; but
he is captured through Cooper's help. Spellman even-
tually recovers, and Cooper continues with his law
studies.
Robert Andrews wrote the original screen play;
William Nigh directed it, and William T. Lackey pro-
duced it. In the cast are Sidney Miller, Buddy Pepper,
Bobby Stone, David Durand, Robert Emmctt Keane,
Marjorie Reynolds, and others.
Suitability, Class A.
"Wuthering Heights" with Merle Oberon.
David Niven and Laurence Olivier
{United Artists, April 7 ; time, 97 mm.)
From the production point of view, it is a fine artistic
achievement. As entertainment, however, its appeal will
be limited to class audiences. The acting, direction, and
production are all excellent; but the story is so sombre
and cheerless, that most persons will leave the theatre
depressed. Although the plot has been altered radically,
it still remains unpleasant in some respects, particularly
in the characterization of the hero, whose desire for
revenge brings suffering to several persons. Since the
story is mainly a psychological study of two passionate
characters, whose romance had been frustrated, the
action is restricted mostly to talk; thus the picture be-
comes somewhat draggy at times: — ■
A young boy, picked up in the streets of Liverpool by
the generous owner of Wuthering Heights, an English
manor house, is happy to be made one of the family.
His benefactor's two children have different natures:
the young daughter treats him as an equal, whereas the
sullen young son is brutal toward him. When the father
dies, the son humiliates the young boy by making him
a stable hand. They grow up; the head of the house
(Hugh Williams) had lost none of his brutal ways,
making his stable hand (Laurence Olivier) miserable.
\\ hat induced Olivier to remain was his passionate love
for Williams' sister ( Merle Oberon), who felt the same
way towards him. But Miss Oberon longed to get away
from the dismal surroundings of her home; she is
charmed by the gaiety and beauty of the life led by
wealthy David Niven and his sister (Geraldine Fitz-
gerald). Ol ivier, because of jealousy, quarrels with her
about Niven. When he overhears Miss Oberon telling
her maid (Flora Robson) that Niven had proposed to
her, he leaves the house during a storm. Miss Oberon.
frantic at the thought of losing him, follows him. She
becomes seriously ill, and is nursed back to health at
Niven's home. Eventually she marries Niven, and is
quite happy until Olivier returns, a wealthy man. His
one desire was to avenge himself on all those who had
hurt him. By buying up all of Williams' gambling and
drinking debts, he becomes the owner of Wuthering
Heights, and torments Williams. Knowing that Miss
Oberon still loved him as he loved her, he purposely
tries to hurt her by marrying Niven's sister, whom he
mistreats. Hearing that Miss Oberon was very ill, he
rushes to her bedside; she dies in his arms. Overcome
with grief, he becomes even more sullen and brutal.
One night, hearing her calling to him, he follows her to
their former meeting place, where he dies.
The plot was adapted from the story by Emily
Bronte. Ben Hecht and Charles MacArthur wrote the
screen play; Willi. un Wyler directed it, and Samuel
Goldwyn produced it. In the cast are Donald Crisp,
Leo G. Carroll, Cecil Humphreys, Miles Mander, Ro-
manic Callender, and others.
Although there is nothing morally wrong, it is too
sombre for children; best suited for adults, ( kiss H.
oO
April 15, 1939
BOX-OFFICE PERFORMANCES OF
1938-39 SEASON'S PICTURES— No. 2
First National
"Comet over Broadway," with Kay Francis, Ian Hunter,
and John Litel ; produced by Bryan Foy and directed by
Busby Berkeley, from a screen play by Mark Hellinger :
Fair-Poor.
"Heart of the North," with Dick Foran, Patric Knowles,
Gale Page, and Gloria Dickson; produced by Bryan Foy
and directed by Lewis Seiler, from a screen play by Lee
Katz and Vincent Sherman : Good-Fair.
"Going Places," with Dick Powell, Anita Louise, Harold
Huber, and Allen Jenkins; produced by Benjamin Glazer
and directed by Ray Enright, from a screen play by Mau-
rice Leo, Jerry Wald, and Sig Herzig : Good-Fair.
"Torcliy Blane in Chinatown," with Glcnda Farrell and
Barton MacLane; produced by Bryan Foy and directed by
William Beaudine, from a screen play by George Bricker :
Fair-Poor.
"Nancy Drew, Reporter," with Bonita Granville and
Frankie Thomas, Jr. ; produced by Bryan Foy and directed
by William Clemens, from a screen play by Carolyn Keene
and Kenneth Garnet : Fair-Poor.
"Yes, My Darling Daughter," with Priscilla Lane and
Jeffrey Lynn; produced by Benjamin Glazer and directed
by William Keighley, from a screen play by Casey Robin-
son : Very Good-Good.
Thirteen pictures have been released. Grouping the pic-
tures of the different ratings from the beginning of the
season, we get the following results :
Excellent, 1 ; Excellent-Good, 1 ; Very Good-Good, 1 ;
Very Good-Fair, 2; Good-Fair, 2; Fair, 1 ; Fair-Poor, 5.
The first thirteen pictures in the 1937-38 season were
rated as follows :
Very Good-Good, 2; Good, 2; Good-Fair, 3; Fair, 5;
Fair-Poor, 1.
Metro-Gold wyn-Mayer
"Out West with the Hardys," with Mickey Rooney,
Lewis Stone, and Cecilia Parker ; directed by George B.
Seitz, from a screen play by Kay Van Riper, Agnes C.
Johnston, and William Ludwig : Excellent-Good.
"Flirting with Fate," with Joe E. Brown and Beverly
Roberts; produced by David Loevv and directed by Frank
McDonald, from a screen play by Joseph M. March, Ethel
LaBlanche, Charlie Melson, and Hary Clork : Good-Poor.
"Dramatic School," with Luise Rainer, Paulette God-
dard, and Alan Marshal ; produced by Mervyn LeRoy and
directed by Robert B. Sinclair, from a screen play by
Ernest Vajda and Mary McCall, Jr.: Good-Poor.
"A Christmas Carol," with Reginald Owen, Gene Lock-
hart, and Terry Kilburn; produced by Joseph Mankiewicz
and directed by Edwin L. Marin, from a screen play by
Hugo Butler: Good-Poor.
"The Girl Downstairs," with Fran. hot Tone, Franciska
Gaal, and Walter Connolly ; produced by Harry Rapf and
directed by Norman Taurog, from a screen play by Harold
Goldman, Felix Jackson, and Karl Noti : Good-Fair.
"Sweethearts," with Jeanette MacDonald and Nelson
Eddy ; produced by Hunt Stromberg and directed by W. S.
VanDyke, from a screen play by Dorothy Parker and Alan
Campbell : Excellent- Very Good.
"Stand Up and Fight." with Robert Taylor, Wallace
Beery, and Florence Rice ; produced by Mervyn LeRoy
and directed by W. S. VanDyke II, from a screen play by
James H. Cain, Jane Murfin, and Harvey Ferguson:
Excellent-Good.
"Burn 'Em Up O'Connor," with Dennis O'Keefe, Cecilia
Parker, and Nat Pendelton ; produced by Harry Rapf and
directed by Edward Sedgwick, from a screen play by-
Milton Merlin and Byron Morgan: Fair-Poor.
"Idiot's Delight," with Norma Shearer and Clark Gable;
produced by Hunt Stromberg and directed by Clarence
Brown, from a screen play by Robert E. Sherwood:
Excellent-Fair.
"Four Girls in White." with Florence Rice, Alan Mar-
shal. Ann Rutherford, and Kent Taylor; produced by Nat
Levine and directed by S. Sylvan Simon, from a screen
play by Dorothy Yost : Good-Fair.
"Honolulu," with Robert Young, Eleanor Powell,
George Burns, and Gracie Allen; produced by Jack Cum-
mings and directed by Edward Buzzell, from a screen play
I ;, Herbert Fields and Frank Partos : Very Good-Good.
"The Adventures of Huckleberrv Finn," with Mickey
Rooney, Walter Connolly, and William Frawley ; pro-
duced by Joseph L. Mankiewicz and directed by Richard
Thorpe, from a screen play by Hugo Butler : Very Good-
Good.
"Fast and I^oose," with Robert Montgomery and Rosa-
lind Russell : produced by Frederick Stephani and directed
by Edwin L. Marin, from a screen play by Harry Kurnitz :
Good- Fair.
Twenty-four pictures have been released. Grouping the
pictures of the different ratings from the beginning of the
season, we get the following results:
Excellent- Very Good, 3; Excellent-Good, 2; Excellent-
Fair, 1 ; Very Good-Good, 4 ; Very Good-Fair, 1 ; Good, 1 ;
Good-Fair, 8; Good- Poor, 3; Fair-Poor, 1.
The first twenty-four pictures in the 1937-38 season were
rated as follows :
Excellent-Good, 1 ; Very Good-Good, 8; Good, 6; Good-
Fair, 8 ; Fair, 1.
Paramount
"Arrest Bulldog Drummond," with John Howard,
Heather Angel, and Reginald Denny ; produced by Stuart
Walker and directed by James Hogan, from a screen play
by Stuart Palmer : Fair-Poor.
"Say It in French," with Olympe Bradna, Ray Milland,
and Mary Carlisle; produced and directed by Andrew L.
Stone, from a screen play by Frederick Jackson : Good-
Poor.
"Little Orphan Annie," with Ann Gillis, Robert Kent,
and June Travis ; produced by John Speaks and directed by
Ben Holmes, from a screen play by Budd Wilson Schul-
berg and Samuel Ornitz : Fair-Poor.
"Ride a Crooked Mile," with Akim Tamiroff, Frances
Farmer, and Leif Erikson; produced by Jeff Lazarus and
directed by Alfred E. Green, from a screen play by Ferdi-
nand Reyher and John C. Moffitt : Fair.
"The Frontiersman," with William Boyd and George
Hayes ; produced by Harry Sherman and directed by
Lesley Selander, from a screen play by Norman Houston :
Good-Fair.
"Tom Sawyer, Detective," with Billy Cook and Donald
O'Connor ; directed by Louis King, from a screen play by
Lewis Foster, Robert Yost, and Stuart Anthony : Good-
Poor.
"Artists and Models Abroad," with Jack Benny and
Joan Bennett; produced by Arthur Hornblow, Jr., and
directed by Mitchell Leisen, from a screen play by Howard
Lindsay, Russell Crouse, and Ken Englund : Good-Fair.
"Disbarred," with Gail Patrick, Otto Kruger, and
Robert Preston ; directed by Robert Florey, from a screen
play by Lillie Hayward and Robert R. Presnell : Fair-Poor.
"Zaza," with Claudctte Colbert and Herbert Marshall ;
produced by Albert Lewis and directed by George Cukor,
from a screen play by Zoe Akins : Fair-Poor.
"Ambush," with Gladys Swarthout, Lloyd Nolan, and
Ernest Truex ; produced by William Wright and directed
by Kurt Neumann, from a screen play by Laura and S. J.
Perelman : Fair-Poor.
"Paris Honeymoon," with Bing Crosby, Akim Tamiroff,
Shirley Ross, and Franciska Gaal; produced by Harlan
Thompson and directed by Frank Tuttle, from a screen
play by Frank Butler and Don Hartman : Good-Fair.
"St. Louis Blues," with Dorothy Lamour and Lloyd
Nolan ; produced by Jeff Lazarus and directed by Raoul
Walsh, from a screen play by John C. Moffitt and Malcolm
S. Boylan : Very Good-Fair.
"Persons in Hiding," with J. Carrol Naish, Lynne Over-
man, and Patricia Morison ; produced by Edward T. Lowe
and directed by Louis King, from a screen play by William
R. Lipman and Horace McCoy : Good-Poor.
"Boy Trouble," with Charlie Ruggles and Mary Boland ;
directed by George Archainbaud, from a screen play by
Laura and S. J. Perelman : Good-Poor.
"One Third of a Nation," with Sylvia Sidney and Leif
Erikson ; produced by Harold Orlob and directed by Dud-
ley Mr-phy, from a screen play by Oliver H. P. Garrett:
Fair-Poor.
"Sunset Trail," with William Boyd and George Hayes;
produced by Harry Sherman and directed by Lesley Se-
lander, from a screen play by Norman Houston : Good.
"Cafe Society," with Fred MacMurray, Madeleine Car-
roll, and Shirley Ross ; produced by Jeff Lazarus and di-
rected by W. H. Griffith, from a screen play by Virginia
VanUpp: Very Good-Fair.
"The Beachcomber," with Charles Laughton ; produced'
and directed by Erich Pommer, from a screen play by
Bartlctt Cormack : Very Good-Fair.
Thirty-one pictures have been released. Grouping the
pictures of the different ratings from the beginning of the
season, we get the following results :
Very Good-Good, 3 ; Very Good-Fair, 4 ; Good, 1 ; Good-
Fair, 8 ; Good-Poor, 5; Fair, 2; Fair-Poor, 8.
The first thirty-one pictures of the 1937-38 season were
rated as follows :
Excellent-Very Good, 1 ; Excellent-Good, 1 ; Very Good,
1; Very Good-Good, 1; Very Good-Fair, 1; Good, 3;
Good-Fair, 5; Good-Poor, 1; Fair, 9; Fair-Poor, 5;
Poor, 3.
IN TWO SECTIONS— SECTION TWO 60A
HARRISON'S REPORTS
VoL XXI NEW YORK. N. Y„ APRIL 15, 1939 No. 13
The Accuracy of the 1938-39 Season s Forecasts
Of the 145 stories that were forecast in the
beginning of the season, sixty have been pro-
duced up to the time of going to press.
The average accuracy of the Forecaster this
season has been 96%.
The following table indicates the number of
pictures forecast out of each company's work,
and the percentage of accuracy :
Number Number Percentage
of Pictures of Points of Accuracy
Columbia
2
180
90%
MGM
9
870
96%
Monogram . . .
2
200
100%
Paramount . . .
10
980
98%
0
0
0
RKO
10
940
94%
20thC.-Fox ..
5
460
92%
United Artists
8
760
95%
Universal
4
380
95%
Warner-F. N. .
10
1000
100%
Total
60
5770
96%
Columbia
"Let Us Live," forecast under the title, "Is
This the Law?": The forecast said: "This
should make a very good gangster melodrama,
the kind that should hold the spectator's atten-
tion throughout . : . should fare very well at the
box-office. It will, however, be strictly adult
fare." The picture turned out a strong but grim
melodrama; and, even though it holds one in
suspense, it is not pleasant entertainment, for
the story is harrowing. Accuracy 80%.
"You Can't Take It With You" : The forecast
said: "There is no doubt that Columbia intends
to produce this as a 'big* picture. . . . And with
such good players . . . there is no reason why
this should no* turn out very good in quality."
It turned out very good. Accuracy 100%.
Average Accuracy 90%.
Metro-Gold wyn-Mayer
"Sweethearts" : The forecast said : "This play
possesses the necessary elements for a musical
picture of a quality anywhere from good to very
good, with very good to excellent box office
performance because of the leads." It turned
out as predicted. Accuracy 100%.
"Marie Antoinette": The forecast said: "The
picture will, no doubt, tarn out excellent in
quality. As to its box office performance, it will
depend on how popular is yet Miss Shearer. . . . "
The picture turned out excellent in quality, and
did from very good to good at the box-office.
Accuracy 100%.
"Idiot's Delight" : The forecast said : " . . . The
story material, however, is not so 'hot' for pic-
ture purposes MGM will undoubtedly alter
the material radically there is no donbt that
the picture will turn out anywhere from very
good to excellent in quality." Accuracy 100%.
"The Shining Hour" : The forecast said : "The
material, from the point of view of action, is not
bad, for there is something doing at all times;
its drawback lies in the fact that it is not pleas-
urable. Alterations in plot as well as in charac-
terizations must be made. . . . Without such al-
terations the picture may turn out only a fair
entertainment." The picture turned out a strong
drama, but not pleasurable entertainment be-
cause of the conflict between two brothers and
the wife of one. Accuracy 100%.
u "The Great Waltz": The forecast said:
"MGM intends, no doubt, to make a big picture
out of this material The picture should turn
out from a very good to excellent operetta." It
turned out as predicted. Accuracy 100%.
"Stand Up and Fight": The forecast said:
"This should turn out a very good action pic-
ture, with particular appeal to action fans." It
turned out just as predicted. Accuracy 100%.
"Dramatic School": The forecast said: "This
story offers an opportunity for a picture with
considerable human appeal. . . . With capable
players this should turn out from good to very
good, with similar box-office results, or better,
if popular actors are given the leads." Although
the picture was given a good production with
capable performances by well-known players,
it turned out limited in appeal, for it lacked
comedy and human appeal. Accuracy 70%.
"The Citadel": The forecast said: This is a
powerful drama . . . should turn out from very
good to excellent, with similar box-office re-
sults." It turned out exactly as predicted. Accu-
racy 100%.
"Too Hot to Handle": The forecast said:
"The material offers chances for a thrilling
melodrama . . . should turn out a very good pic-
ture." It turned out a-very good melodrama with
plentiful thrills. Accuracy 100%.
Average Accuracy 96%.
60B
HARRISON'S REPORTS
April 15, 1939
Monogram
"Under the Big Top," forecast under the tide
"Circus Lady ': The forecast said: " Pictures
with circus backgrounds have become too fa-
miliar to picture-goers to prove exciting. . . .
This should turn out a fair picture." It turned
out just a fair entertainment. Accuracy 1007c
"Mr. Wong, Detective': The forecast said:
"This should make a fast-moving melodrama
and. where Sons Karloff is still popular, it
should do good business." It turned out a good
program murder-mystery melodrama. Accu-
racy 100%.
"Star Reporter": This picture is not counted
in, because the story was changed altogether.
Average Accuracy 100%.
Paramount
"If I Were King": The forecast said: "The
picture will, no doubt, turn out either excellent
or very good in quality. But . . . each exhibitor,
in determining its box-office value, must take
into consideration the reception costume plays
are given by his patrons." The picture turned
out very good. Accuracy 100%.
"King of Alcatraz" : The forecast said : "This
should turn out a good melodrama; its box-
office value will depend on the popularity of the
players." It turned out as predicted. Accuracy
100%.
"Ride a Crooked Mile," forecast under the
title, "Escape From Yesterday": The forecast
said: "This should make a good picture; but.
with the cast mentioned, it is doubtful if it will
do more than fair to fairly good at the box-
office." It turned out just as predicted. Accu-
racy 100%.
"Men With Wings" : The forecast said : "This
should make a good melodrama. This offers ma-
terial for a good melodrama, with the thrills
coming from the flying scenes. Milland and
Miss Campbell both win one's sympathy, but
MacMurray, not so much, because of the fact
that he leaves his family. ..." It turned out
exactly as predicted. Accuracy 100%.
"Touchdown, Army": The forecast said:
'This is a typical routine football story, no bet-
ter or worse than the general run of pictures of
this type. It should make a fairly good program
college football picture." It turned out just an-
other college football picture. Accuracy 100%.
"Sing, You Sinners" : The forecast said : "A
delightful story, with a chance for comedy, ro-
mance, and music. This shouid turn out very
good, with similar box-office results." The pic-
ture turned out just as predicted. Accuracy
100%.
"St. Louis Blues" : The forecast said : "A
great deal will depend on the music and enter-
tainers, for the story itself is simple. . . . Para-
mount has a chance to make this a good picture.
Exhibitors will have to judge its box-office value
by what popularity Raft and Miss Lamour have
in their individual locality.'' George Raft did not
appear in the picture. It turned out a fairly good
entertainment. Accuracy 100%.
"Arkansas Traveler": The forecast said: "It
should give Bob Burns a chance to spurt some
of his homespun philosophical remarks, which
usually set audiences to laughing . . . shouid
make a good picture, with human interest and
excitement. Its box-office value will depend on
Bob Burns' popularity in each locality.'* It
turned out just as predicted. Accuracy 100%.
"Artists and Models Abroad": The forecast
said: "This should turn out very good to excel-
lent, with similar box-office results." It turned
out just a good comedy with music Accuracy
80%.
"Campus Confessions'": The forecast said:
"A typical college athletic story — .A fair pro-
gram picture; it may have better than average
box-office possibilities if the basketball angle is
exploited." It turned out a typical college pro-
gram picture, with the only novelty being that
basketball was employed instead of, football as
the college sport. Accuracy 100%.
Average Accuracy 98%.
RKO
"Twelve Crowded Hours,'* forecast under the
title, "What's Your Number?": The forecast
said : "This should make a good program gang-
ster melodrama, suitable for adults." It turned
out just as predicted. Accuracy 100%.
"Fugitives for a Night": The forecast said:
"This should make a fair program melodrama,
with fair results at the box-office." It turned out
just a fair program picture. Accuracy 100%.
"The Saint Strikes Back": The forecast said :
"This should make a good melodrama." It
turned out an engrossing program melodrama.
Accuracy 100%.
"Pacific Liner": The forecast said: "Pretty
exciting material although not very pleasurable
. . . should make a pretty good picture, with the
results at the box-office depending on Victor
McLaglen's popularity." It turned out a pretty
depressing melodrama. Accuracy 70%.
"A Man to Remember": The forecast said:
"There is considerable human appeal in this
story . . . should make a good program human-
interest picture" It turned out just as predicted.
Accuracy 100%.
"Mr. Doc die Kicks Off: The forecast said:
"A typical college football story; it should,
however, have more comedy than most because
of the part Joe Penner plays should turn out
a pretty good program football comedy." It
turned out an amusing college program football
picture, more entertaining than the average pic-
ture of that type because of Mr. Penner's antics.
Accuracy 100%.
"Gunga Din": The forecast said: "This
should make an exciting adventure melodrama.
Considering the players listed, it should do very
well at the box-office." Accuracy 100%.
April 15, 1939
HARRISON'S REPORTS
60C
"Sixty Glorious Years": The forecast said:
"There is no doubt that the quality of this pic-
ture will be excellent. . . . But as to its box-office
value, exhibitors may judge by the success they
had with 'Victoria the Great.' " The picture
turned out excellent in quality, but doubtful as
to box-office possibilities. Accuracy 100%.
"The Mad Miss Manton": The forecast said:
"A typical murder mystery melodrama for
which there is a ready market. . . . This should
make a good comedy-melodrama, with similar
box-office results." It turned out good. Accu-
racy 100%.
"Room Service" : The forecast said : " . . . Con-
sidering that the Marx Brothers will appear in
it, this should turn out very good, with similar
box-office results." It turned out only a good
comedy, with good-fair box-office results. Accu-
racy 70%.
Average Accuracy 94%.
Twentieth Century-Fox
"The Little Princess": The forecast said:
"The story is up Shirley's 'alley,' and with good
direction and a competent supporting cast there
is no reason why Twentieth Century-Fox
should not make a deeply appealing picture,
with very good to excellent box-office results."
The picture turned out just as predicted. Accu-
racy 100%.
"Alexander's Ragtime Band": The forecast
said: "There is no doubt that Mr. Zanuck ex-
pects to make this both lavish and tuneful It
should turn out from very good to excellent,
both in quality and box-office performance.'*
It turned out just as predicted. Accuracy 100%.
"Just Around the Corner," forecast under the
title, "Lucky Penny" : The forecast said : "There
is plentiful human appeal in this story. . . . The
story offers material for an appealing picture,
with music and comedy. Given careful produc-
tion, as Shirley's pictures usually are, this
should turn out very good entertainment, with
equal success at the box-office." It turned out
just a good picture. Accuracy 80%.
"My Lucky Star": The forecast said: "The
story is simple ; but, what is most important, it
otters Miss Henie an opportunity to show her
skill as a skater once again. ... If Twentieth
Century-Fox should cast a well-known player
with Miss Heme, there is no reason why this
should not turn out very good." It turned out
just a fair picture, with good box-office results.
Accuracy 80%.
"Suez" : The forecast said : "There is no doubt
that, with such a story to work with, Mr. Zanuck
will give this an extremely lavish production.
. . . The story is powerful in itself; aided by a
lavish production and popular stars, there is no
reason why it should not turn out very good,
with similar box-office results." It turned out
as predicted. Accuracy 100%.
Average Accuracy 92%.
United Artists
"The Young in Heart": The forecast said:
"This story is a little different and offers an op-
portunity for considerable comedy and heart-
warming situations . . . should turn out a very
good picture, with similar box-office results."
It turned out a delightful comedy with consid-
erable human appeal. Accuracy 100%.
"The Duke of West Point": The forecast
said : "This story has been written by the same
man who wrote 'Navy Blue and Gold.' In that
picture he revealed himself as a man who under-
stood human nature and was capable of writing
a story that had human appeal, emotion-stirring
situations, and comedy This should turn out
a very good picture." It turned out a very good
entertainment. Accuracy 100%.
"Made for Each Other" : The forecast said :
"... there is opportunity for drama and emo-
tional appeal, . . . the two leading characters win
one's sympathy. . . . With two such popular
players .... the picture should turn out very
good, with similar box-office results." The pic-
ture turned out a very good drama with deep
emotional appeal. Accuracy 100%.
"King of the Turf: The forecast said: "Sto-
ries revolving around race tracks do not, as a
rule, appeal as much to women as they do to
men. Nor is the theme of showing a man's rise
to riches by means of gambling particularly
edifying. The production will, no doubt, be lav-
ish, and the picture may turn out good. But as to
its box-office value, despite Adolphe Menjou's
popularity, his name is not strong enough to
lure crowds to the box-office." Although several
changes were made in the story, it still remained
just a fairly good racetrack picture. Accuracy
100%.
"The Cowboy and the Lady": The forecast
said: "Nice material, and with good treatment,
it should make a picture either very good or
good in quality, with similar box-office results."
It turned out just a fairly good romantic com-
edy. Accuracy 80%.
"There Goes My Heart" : The forecast said :
"This should make an entertaining, heart-warm-
ing comedy. And, considering the players
named, it should do well at the box-office." It
turned out just a fairly good comedy. Accuracy
80%.
"Topper Takes a Trip": The forecast said:
"This should be a lavish production. . . . But,
since it is along the same order as the first pic-
ture, its box-office appeal will be limited to those
who enjoy fantastic comedies." It turned out
just as predicted. Accuracy 100%.
"Wuthering Heights": The forecast said:
"Powerful material but unpleasant, for ven-
geance runs through the story almost to the
very closing scenes. Heathcliff is certainly a
highly unpleasant character . . . will make a
very powerful drama, but highly unpleasant en-
tertainment." Although the story was altered in
many respects, it turned out just as predicted,
for the character of Heathcliff was left unpleas-
ant- Accuracy 100%.
Average Accuracy 95%.
60D
HARRISON'S REPORTS
April 15, 1939
Universal
"Youth Takes a Fling-": The forecast said:
"Universal has a fine piece of property in this
story, which fits exceedingly well Andrea
Leeds' ability to express emotion . . . there is no
reason why Universal should not make a picture
either very good or excellent in quality, with
similar box-office results." It turned out an en-
tertaining romantic comedy, but only good in
quality. Accuracy 80%.
"One Exciting Night," forecast under the
title, "Adam's Evening": The forecast said:
"The material lends itself to a rollicking farce.
. . . If the story should be given to a producer
and to a director who understand farce-comedy
work, there is no reason why the picture should
not turn out anywhere from good to very good
in quality." It turned out a good comedy. Accu-
racy 100%.
"Freshman Year" : The forecast said : "This
should turn out a pleasant college comedy with
music, doing iairly well at the box-office." It
turned out just as predicted. Accuracy 100%.
"That Certain Age," forecast under the title,
"First Love": Although the names of the au-
thors of the finished product and of the story
forecast are not the same, Harrison's Forecaster
is taking credit on this because the basic idea of
a young girl's falling in love with an older man
is'the same. The forecast said: "... Jackie's
adolescent love for Allan, if handled properly,
should touch one's heart. The characters are all
fine and generous, even Allan; the fact that he
does not suspect that Jackie loved him is in his
favor. . . . And, of course, there is plentiful op-
portunitv for music." Considering that this was
the main idea of the finished product, it turned
out as predicted. Accuracy 100%.
Average Accuracy 95%.
Warner-First National
"The Amazing Dr. Clitterhouse" : The fore-
cast said: "As a comedy, 'The Amazing Dr.
Clitterhouse' should turn out good to very good
in quality, with its box-office performance de-
pending on Mr. Robinson's popularity. It should
draw well if produced as a comedy-melodrama."
It turned out a good comedy-melodrama. Accu-
racy 100%.
"Brother Rat" : The forecast said : "The play
is very good, and Warner Bros, should not have
any trouble in making a very good picture out of
it, with the box-office results depending on the
popularity of the two stars." It turned out just
as predicted. Accuracy 100%.
"Heart of the North": The forecast said:
"This should make a good outdoor melodrama,
with plentiful exciting action. Its box-office per-
formance will depend on George Brent's popu-
larity." It turned out a good outdoor action
melodrama. Accuracy 100%.
"Garden of the Moon": The forecast said:
"This is another one of those musicals that de-
pends on lavish settings and popular tunes to put
it over, for there is not much to the story ... it
should turn out good as a musical. And, consid-
ering the players already announced, it has a
good chance to do well at the box-office." It
turned out an entertaining comedy with music
Accuracy 100%.
"Four Daughters," forecast under the title,
"The Sister Act": "The material is powerfully
dramatic . . . Warner Bros, has an excellent
piece of property in this one and, handled by a
competent director, the picture should turn out
either excellent or very good, both in quality
and box-office performance" It turned out just
as predicted- Accuracy 100%.
"The Valley of the Giants": The forecast
said : "The action in this book is virile, and since
the giant redwood trees are used as a back-
ground, it is impressive Subject matter with
such a background lends itself to the purpose
admirably. Consequently the picture should
turn out very good." It turned out a very good
entertainment. Accuracy 100%.
"Boy Meets Girl": The forecast said: "The
outcome of this material will depend a great
deal on handling of script. A good script writer
can retain the comedy. There is the possibility
that it may turn out a very good entertainment."
It turned out very good as an entertainment,
although not so good in box-office results. Accu-
racy as to quality 100%.
"The Sisters" : The forecast said : "If the sex
angle should be cleaned up, and a more inter-
related plot evolved out of the story, it should
make a good picture ... As it now stands, it
may turn out either fairly good or good in qual-
ity, with good to very good at the box-office"
Accuracy 100%.
"Yes, My Darling Daughter": The forecast
said: "The story is lightweight, but there is
enough action to interest one constantly. Many
of the situations offer an opportunity for com-
edy." It turned out a good comedy. Accuracy
100%.
"You Can't Get Away With Murder," fore-
cast under the title "Chalked Out": The fore-
cast said: "Warner Bros, has a good piece of
property in this stage play, and with the experi-
ence its studio has had in prison-life dramas
there is no reason why the producer who will be
assigned to produce this picture will not make
a good or very good one with it, faring well to
very well at the box-office" It turned out a good
prison melodrama and should do well at the
box office Accuracy 100%.
Average Accuracy 100%.
Entered as second-class matter January 4, 1921, at the post office at New York, New York, under the act of March 3, 1879.
Harrison's Reports
Yearly Subscription Rates: 1270 SIXTH AVENUE Published Weekly by
United States $15.00 ttnnm 1 ftl «? Harrison's Reports, Inc.,
U. S. Insular Possessions. 16.50 Room ioi« Publisher
Canada 16.50 New York, N. Y. P. S. HARRISON, Editor
Mexico, Cuba, Spain 16.50 , ,_ _. . _ . . .
Great Britain 15.75 AMotionP.otureReviewingfeerv.ee . , , ,
Australia, New Zealand, Devoted Chiefly to the Interests of the Exhibitors Established July 1, 1919
India, Europe, Asia .... 17.50
«<i • -i f'nnv Its Editorial Policy: No Problem Too Big for Its Edkorial Circle 7-4622
jdc a i ,opy Columns, if It is to Benefit the Exhibitor.
A REVIEWING SERVICE FREE FROM THE INFLUENCE OF FILM ADVERTISING
Vol. XXI SATURDAY, APRIL 22, 1939 No. lb
The Opposition's Statemen
At the time of writing this editorial, the hearings on the
Neely Bill conducted by the Sub-Committee of the Senate
Committee on Interstate Commerce were continued, but
they would no doubt be completed early this week.
The arguments the producers have advanced in opposi-
tion to the bill are not much different from the arguments
thej advanced at other hearings, except that this time the
loss of foreign business was injected, by Mr. Kent.
Some of the statements made against the bill, taken from
The !:iiin Daily, are the following :
"The Bill tears down and destroys ; it does not build."
"This Bill would destroy the Motion Picture Code."
' Block-booking is a trade expression; it means whole-
sale selling and nothing else."
"We must maintain what we have left of our market."
"Pictures cannot be sold one at a time."
"I have heard of few failures of theatres during the de-
pression."
"The Bill is against the interests of the moviegoers. It
would throttle an industry that has given ever)' American
town . . . the privilege of foreign travel, plus entertainment,
at the price of an ice-cream soda."
"For 15 years I have waited in vain, in spite of general
charges, to see someone submit a list of constantly talked of
independents who have been put put of business by block-
booking and blind-selling."
"Since when has the right to buy as you want and what
you want become more sacred under the Constitution than
the right to chose your own customer?"
"I do believe that the majority of independent exhibitors
of this country would rather have the result of these trade
conferences as a remedy than the bill which is offered here."
"When tl lese prodticers are forced to make only sure-shot
commercial pictures this business is going backward, not
forward."
"As drawn, the measure is not constructive."
"Trade practice program and not legislation would best
protect the interests of the public and the exhibitors."
"The proposed law has nothing to do with prohibiting
the exhibiting of any films of any character whatsoever . . .
in fact, this law does not prevent the showing of entirely
immoral pictures."
"The public is also encouraged to buy blindly."
"The Bill . . . hamstrings the American system of free
enterprise."
"It does not help a theatre owner who may be persuaded
to cancel an announced picture because of local objections.
He has already made a contract agreement to pay for the
film. The Act docs not provide any option to cancel the pic-
ture after it is licensed."
"It forces the distributor to raise wholesale prices to an
artificial level under criminal penalties."
"It takes away the responsibility on the producer, where
it rightly belongs, to maintain moral standards in pictures,
and seeks tn put the entire responsibility on the local ex-
hibitors scattered throughout the country, without offering
to the exhibitor an option to cancel pictures as they are
bi 1 1 iked."
After reading these statements you will wonder whether
there has been something wrong with you, for according to
them the millenium has been here all alons and you have
not been aware of it.
It is hardly necessary for me to tell you that some of
these statements are highly exaggerated. For instance, the
at the Neely Bill Hearings
committee members were told that few exhibitors have gone
out of business as a result of the prevailing block-booking
system. Of course, to take a census of the number of
theatres that have gone out of business as a result of this
system requires the expenditure of considerable money.
And no exhibitor organization has money to spend for such
a purpose.
But it is not fair for them to ask for a list of the theatres
that have gone out of business as a result of the block-
booking system ; what they should have asked for is a list
of the theatres that have been sold and resold innumerable
times, for once a theatre is built it i;. hardly ever kept
closed : when the owner of it finds it impossible to conduct
it profitably he sells it to some other ambitious person. And
the next proprietor does the same thing when he, too, finds
out that he cannot make it go, and so on. It is this sort of
information that would have enlightened the Committee.
And do the producers need some one else to furnish them
with such a list ?
Of course, they may say that an exhibitor's inability to
make his theatre yield a profit is not caused by the block-
booking system, but either by over-seating or by natural
competition ; but if he had the right to choose the best pic-
tures of each producer he would be able to conduct it profit-
ably. No matter in how many theatres a meritorious picture
has been shown ; there are always people who have not seen
it. At any rate he does better with them than with some of
the mediocre pictures he is compelled to buy from a pro-
ducer in order for him to get the few good ones.
And not only is he unable to buy what he wants, but he
is confronted with unfair circuit competition ; for the cir-
cuits, by using their influence as well as their buying power,
obtain protection so unreasonable that the pictures become
worthless when their competitors get them. Let the market
be free, and the independent exhibitor will be able to hold
his own, despite competition. And only a law such as Sena-
tor Neely proposes can bring this condition about.
One speaker said that he has heard of few failures during
the depression. This might be true so far as he is concerned,
but all he had to do would be to ask for the information
from his producer-employers ; they have the records.
So far as the sacredness of the right to sell, no one will
contradict the speaker ; but the right to sell is sacred only
when done free and untrammelled. It is not sacred when it
js done under the big buyers' compulsion, as is usually the
case now. That is at least what the U. S. Supreme Court
said in the Dallas case.
This speaker said also that the indej>endent exhibitors
would have the trade practices conferences as a remedy
rather than legislation. But trade practices conferences
were held in the past. May this paper mention the con-
ferences held under the auspices of the Government in
1928? But what happened? Nothing! The producers forgot
all their promises.
And how about the 5-5-5 conferences? Was their fate
any better? No! Even when the NRA Code was in the
process of negotiations the producers tried to frame it so as
to get all the benefit. From that time on, the exhibitors have
been clamoring for trade reforms to no avail.
Some of the statements are, of course, wiltl. That the
business will, for example, go to pieces when the Neel)
Bill is enacted into a law, is of such a nature. Didn't the>
put up the same kind of wails when a demand was made on
them to cleanse the screen? But when the Legion of
Decency was formed and threatened t<> boycott the thea-
tres, and they were actually forced to eliminate "tilth" from
pictures, they earned greater profits than they had ever
dreamed of earning. The same thing will happen if the
{Continued en lost page)
62
HARRISON'S REPORTS
April 22, 1939
"Long Shot" with Gordon Jones, Marsha
Hunt and Harry Davenport
{Grand National, January 6 ; time, 68 min.)
A modestly produced but fairly entertaining program
melodrama, with a racetrack background. In spite of the
fact that the story is pretty far-fetched, it manages to hold
one's attention fairly well, because of one's interest in the
leading characters. The stock shots of many races have
been used intelligently, blending in with the story in a
natural way. Although it is obvious that the hero's horse
will win in the final race, one cannot help being somewhat
excited when it does happen : —
Harry Davenport, dejected when he loses his fortune
and even his home after bad luck with his horses at the
race track, is saddened even more when his niece (Marsha
Hunt) announces her engagement to C. Henry Gordon, a
wealthy racer. Davenport knows that she did not love
Gordon and was sacrificing herself for his sake. He turns
his last and favorite horse loose in the Arizona wilds, so
that the Sheriff could not get it. Then, with the help of a
lawyer friend, he leads every one to believe he had died. In
his will he bequeaths the horse to Miss Hunt and to Gordon
Jones, a young racer whom he trusted and liked, hoping
that Miss Hunt would then break her engagement. Jones,
not knowing anything about the will, buys the horse from
a dealer, who had rounded it up with oilier horses. Miss
Hunt recognizes the horse as soon as she sees it. but she
does not say anything to Jones, for she wanted him to have
complete ownership of it. Gordon, knowing about the will,
leads J.nies to believe that Miss Hunt owned the horse and
was playing Jones for a fool. Nevertheless Jones goes
through with his plans to race it at Santa Anita. The horse
wins. To everyone's joy, Davenport returns, explaining the
reasons for his hoax. Miss Hunt, having found out how
crooked Gordon was, is not conscience-stricken when she
breaks her engagement to him in order to marry Jones,
whom she loved.
Harry Beresford and George Callaghan wrote the story,
and Ewart Adamson, the screen play ; Charles Lamont
directed it, and Franklyn Warner produced it. In the cast
are George Meeker, George E. Stone, Dorothy Fay, Tom
Kennedy, Frank Darien, and others.
Suitability, Class A.
"Zenobia" with Oliver Hardy,
Harry Langdon, Billie Burke
and Alice Brady
(United Artists-Roach, April 21 ; time, 73 min.)
That a producer of Mr. Hal Roach's experience should
have produced a piece of junk such as this is indeed dis-
couraging. Oliver Hardy, an excellent short-subject com-
edian, is bad enough when he is put in a feature, hut when
he is coupled with an elephant, that is unbearable. If Mr.
Abram F. Myers (Allied Association) had this picture in
W ashington to show it to the Subcommittee of the Senate
Committee on Interstate Commerce, holding the hearings
on the Neely Bill, he would have needed no other argu-
ments to persuade its members to report the bill favorably.
It is supposed to be a comedy, but I doubt whether any one
else but Mr. Roach will find it such.
"The time," says the press sheet, "is 1870 ; the place
Carterville, Mississippi," and Oliver Hardy, a doctor, the
hero. His daughter (Jean Parker) is loved by the young
hero (James Ellison), but the young man's snobbish mother
does not want to see him marry the daughter of a "common
doctor," more so after he had cured an elephant, and the
animal had become greatly attached to him and had been
following him, bulk and all, like a pet dog. Some scheming
is done by the young hero's mother, by which she persuades
the owner of the elephant to sue the doctor for alienation of
the affections of his elephant, resulting in a trial in which
the doctor is acquitted after making an impassioned plea to
the jury from outside the court room, where he had to be,
because the elephant would not stay out of the court room
as long as he was in it. His plea had another effect ; it
effected a change of heart in the young hero's mother
( Alice Brady).
Walter de Leon and Arnold Belgard wrote the story,
and Gordon Douglas directed it. In the cast are June Lang,
Stepin Fetchit, Hattie McDaniels, Phillip Hurlic, The Hall
Johnson Choir and others.
Morally, there is nothing wrong with it — it may be put
in the "A" class, but it is doubtful if it will amuse even
children.
Editor's Note: A similar picture was produced by
MGM in 1926— "The Great Love." Marshall Neilan, I
believe, produced it; and it "flopped" terribly.
"You Can't Get Away with Murder"
with Humphrey Bogart, Gale Page
and Billy Halop
(First National, May 20; time, 78 min.)
This melodrama, which unfolds mostly in a prison, is
good program entertainment, but strictly adult fare. It may
prove too harrowing for general audiences, because of the
torture a young boy goes through in fighting against the
influence of a vicious gangster ; and the action is demoral-
izing for children. As entertainment, its appeal should be
directed mostly to men; women may find it too depressing,
for not only does it stress the suffering of the young boy,
but also brings in the suffering of his sister and of her
fiance. It has moments of tense excitement, such as the
situation towards the end, when a few prisoners try a
prison break. One feels sympathy for the young boy, who
meets with death in the end. The romance is pleasant : —
Gale Page, who worked hard to support her young
brother ( Billy Halop), is worried because of his friendship
with a petty crook ( Humphrey Bogart). She is cheered by
her fiance (Harvey Stephens), a private policeman, who
tells her of his promotion to the position of manager of the
Boston office, where they would move and take Halop with
them. In the meantime, Halop joins Bogart in holding up a
gas station. Later, Halop steals Stephens' gun, in order to
take it with him on a job with Bogart, but Bogart takes the
gun away from him. During the robbery, he kills a man
and leaves Stephens' gun there. He then hides the loot in
Stephens' room. Halop is both terrified and disgusted ;
when he asks Bogart for Stephens' gun, he is shocked to
hear what Bogart had done. Both Halop and Bogart are
arrested for holding up the gasoline station, and are sent to
Sing Sing. Stephens is arrested for the murder, tried, and
given the death penalty. Bogart, by means of threats, pre-
vents Halop from talking. Unable to stand the strain, Halop
pleads with Bogart to do something. Bogart arranges to
take him along on a prison break, his intention being to
kill him once they would get over the wall. But things go
wrong and the prison break is stopped. Bogart shoots
Halop. Before he dies, Halop confesses, thereby winning
Stephens' freedom.
The plot was adapted from the play, "Chalked Out," by
Warden Lewis E. Lawes and Jonathan Finn. Robert Buck-
ner, Don Ryan, and Kenneth Garnet wrote the screen play ;
Lewis Seiler directed it. and Sam Bischoff produced it. In
the cast are John Litel. Henry Travers, Harold Huber,
Joseph Sawyer, and others.
Unsuitable for children and adolescents. Class B.
"Dodge City" with Errol Flynn and
Olivia deHavilland
( Warner Bros., April 8 ; tinu:, 103 min.)
A very good Western, photographed in technicolor. Pro-
duced with lavishness, and acted with skill by a large and
capable cast, it offers entertainment that should go over
exceedingly well with the masses. The action, consisting
of thrilling fights, plentiful shooting, and good horseback
riding, is fast and exciting. In spite of the fact that the plot
is not novel, it manages to be consistently entertaining, for
the story offers good comedy situations, directs deep human
appeal, and has a charming romance : —
Erorl Flynn and his two pals (Alan Hale and Guinn
Williams), having finished the work of rounding up cattle
for railroad workers, plan to move on, looking for more
excitement. Flynn incurs the enmity of Bruce Cabot, a vil-
lainous Dodge City character, when he places information
in the hands of federal authorities as to Cabot's theft of
skins belonging to Indians. Some time later Flynn returns
to Dodge City as the leader of a caravan of settlers. He is
unhappy because of an incident that had caused the death of
William Lundigan, one of the travelers. Lundigan's griev-
ing sister (Olivia deHavilland), blaming Flynn for every-
thing, refuses to talk to him. When Flynn arrives in Dodge
City, he finds the place a hotbed of crime, for the town was
run by Cabot and his henchmen. The decent folk, admiring
Flynn's courage, beg him to become Sheriff ; he refuses at
first, but later he changes his mind, and begins the work of
cleaning things up. Miss deHavilland, who had changed
her opinion about Flynn, becomes his staunch supporter.
Law and order finally come to Dodge City, but not without
plentiful bloodshed. Cabot and his men are killed in a
battle with Flynn. Flynn is happy when Miss deHavilland,
who had promised to marry him, consents to move further
westward.
Robert Buckner wrote the original screen play; Michael
Curtiz directed it, and Robert Lord produced it. In the cast
are Ann Sheridan, Frank McHugh, John Litel, Henry
Travers, Victor Jory, and others.
Suitability, Class A.
April 22, 1939
HARRISON'S REPORTS
63
"Dark Victory" with Bette Davis, George
Brent and Geraldine Fitzgerald
(First National, April 22; time, 105 min.)
A powerful drama ; the acting is superb and the produc-
tion values excellent. The story is, however, not cheerful ;
as a matter of fact, it is somewhat depressing. Nevertheless,
it is so gripping that it holds one tensely interested, even
though one knows almost from the beginning that it will
end with the death of the heroine. Several situations stir
one's emotions so deeply, that one cannot hold back the
tears. Two situations are outstanding : the one, where the
heroine apologizes to the hero for having insulted him
when she had learned that the brain operation he had per-
formed on her was useless ; and the other, where the heroine
and htr closest friend break down, realizing that the end
was near : —
Bette Davis, a wilful, extremely wealthy, society girl,
who lived recklessly, suffers from dizziness and headaches.
Her secretary and best friend (Geraldine Fitzgerald)
pleads with her to see a doctor. Because of the insistence
of Miss Fitzgerald and of the family doctor, she finally
submits to an examination by George Brent, a famous sur-
geon. Brent, realizing that she had a brain tumor, orders
an immediate operation. At first, she refuses, but later
submits. The operation is successful; but the tests later
show that her's was a malignant case and that she would
die within a year. Brent takes Miss Fitzgerald into his
confidence, but enjoins her to keep the news from Miss
Davis. In the meantime, Miss Davis and Brent fall madly
in love with each other and decide to marry. While at his
office she comes upon the file containing the medical record
of her case and, being curious, starts to read it. She is
shocked at the news, and at the same time enraged because
she had not been told the truth. She insults Brent, breaks
her engagement, and goes off on a wild orgy of drinking.
This keeps up for a few weeks. Unable to bear the strain,
she eventually breaks down and goes to Brent for solace.
They marry, and move to Vermont, where Miss Davis
could spend the rest of her days peacefully and happily.
Miss Fitzgerald visits them; no one talks about the illness.
On the day that Brent was called to New York, Miss Davis
realizes that the end was near, for she was going blind.
Without telling him anything, she insists that he go alone ;
Miss Fitzgerald, knowing the truth, is unable to hide her
grief. Miss Davis pleads with her to leave the house, so that
she might die alone. She dies peacefully. Brent, Miss Fitz-
gerald, and another good friend (Ronald Reagan) drink to
her when a horse in which she had had great confidence
wins an important race.
The plot was adapted from the play by George Emerson
Brewer, Jr., and Bertram Bloch ; Casey Robinson wrote
the screen play, Edmund Goulding directed it, and David
Lewis produced it. In the cast are Humphrey Bogart,
Henry Travers, Cora Witherspoon, Dorothy Peterson, and
others.
Suitability, Class A.
through the inspiration of an old musician-friend (Al
Shean), composes the score for a new show. As soon as it
is bought, he rushes to Miss MacDonald for a recon-
ciliation ; but she turns him down. Morgan, who had bought
the score, works upon Miss MacDonald's sympathies by
stating that, unless she appeared in the show, he would not
produce it. And so, in order to protect Ayres, she agrees to
star in it. On the opening night, she and Ayres are recon-
ciled, after Hunter had gracefully stepped aside.
Lew Lipton, John T. Foote, and Hans Kraly wrote the
story, and Charles Lederer, the screen play ; Robert Z.
Leonard directed and produced it. In the cast are Wally
Vernin, Rita Johnson, Virginia Grey, William Gargan,
and others.
Suitability, Class A.
"Housemaster" with Otto Kruger
(Associated British Pict.; time, 84 min.)
This British-made comedy, which unfolds at a boys'
school, is a mild sentimental entertainment, with little ap-
peal for the average American picture-goer. Technically
it has several faults : the sound and photography are quite
poor in spots, and the editing is so choppy that the specta-
tor is at times bewildered as to what is happening. High
class audiences may find it to their liking, for it is different
from American films as to background and story : —
Otto Kruger, housemaster at an English boys' school, is
annoyed at the severe methods employed by the new head-
master (Kynaston Reeves) in disciplining the boys. To add
to his troubles, he is compelled to take into his home three
young girls, for he had promised their mother, before her
death, that he would care for them when necessary. When
to the other rules the headmaster adds a request that no
pupil attend the town fair, the pupils of Kruger's house
decide to rebel ; they go to the fair without permission. Thi •
causes a scandal, for Reeves was inclined to believe that
Kruger had egged on the boys to do so. Kruger, despite an
excellent record of thirty years' standing, tenders his
resignation, which Reeves accepts. On the day that Kruger
had prepared to leave, he receives a visit from Cecil
Parker, an old friend and a power in politics, who informs
him that he had accomplished the difficult task of having
Reeves transferred to another school, thus leaving the way
clear for Kruger to become headmaster. Kruger is over-
joyed. And his responsibility to the young girls is taken
from his shoulders when their father remarries and re-
quests the girls to live with him.
The plot was adapted from the play by Ian Hay. Dudley
Leslie wrote the screen play, and Herbert Brenon directed
it. In the cast are Diana Churchill, Phillips Holmes, Joyce
Barbour, Rene Ray, and others.
Suitability, Class A.
"Broadway Serenade" with Jeanette
MacDonald and Lew Ayres
(MGM, April 7; time, 112 min.)
This musical comedy will probably go over with the
masses because of the lavish production and of Miss Mac-
Donald's popularity ; it is obvious that MGM spared no
expense in making it the glittering spectacle that it is. But
for all its lavishness, it is boresome, because of the triteness
of the plot, which is developed according to formula. An-
other thing against the picture is its length ; it should have
been shortened by at least thirty minutes. The perform-
ances are satisfactory ; Miss MacDonald sings and acts
well, and she is given good support by a competent cast.
Regardless of their efforts, however, the picture fails to
make the impression that is expected of so expensive a pro-
duction : —
Miss MacDonald is offered by Frank Morgan a part in
his new musical show. Morgan had made the offer at the
suggestion of Ian Hunter, his wealthy backer, who had
been attracted to Miss MacDonald. At first she refuses the
offer, because it meant separation from her husband (Lew
Ayres), a fine musician, with whom she had been appearing
in public. But on Ayres' insistence, she takes the part,
leaving for an out-of-town tour prior to the Broadway
presentation. She is so good that, by the time the show
reaches New York, she is made the star. But stardom does
not bring her happiness; instead, malicious gossip, linking
her name with that of Hunter's, is the cause for the breakup
of her marriage. Ayres takes to drink. After two years,
Miss MacDonald divorces him and plans to marry Hunter,
who was deeply in love with her. In the meantime Ayres,
"Women in the Wind" with Kay Francis
and William Gargan
(Wartier Bros., April IS ; time, 65 min.)
Moderately entertaining program fare. The plot is ordi-
nary ; as a matter of fact, the only attraction that the pic-
ture offers is the flying ; its appeal will, therefore, be limited
to those who enjoy aviation stories. There is some excite-
ment in the closing scenes, when the heroine competes in a
cross-country race. The romance is of the formula type : —
Kay Francis decides to compete in an aviation race for
women, for she needed the $15,000 prize money to cure her
brother, an aviator, who had been paralyzed as a result of
an accident. She becomes acquainted with William Gargan.
famous round-the-world flyer, and induces him to allow
her to fly his plane. Just when things seemed to be going
smooth. Miss Francis is shocked to learn that Gargan had a
wife ( Sheila Bromley) ; he had obtained a Mexican divorce
but Miss Bromley, by claiming that the divorce was void,
insisted that it would be she who would fly Gargan's plane.
Gargan, unknown to Miss Francis, arranges for her to fly
the plane of a young flyer, who had bettered his round-the-
world record. Miss Bromley, hoping to win, enters with a
mechanic into a scheme to tamper with Miss Francis' plane.
This causes her trouble and, to add to her woes, she loses
one of her landing wheels. When Miss Bromley sees this,
she sacrifices her own chances of winning by warning Miss
Francis of her danger. Miss Francis wins. She and Gargan
are overjoyed when Miss Bromley shows them a telegram
she had received informing her that Gargan's divorce was
legal.
The plot was adapted from a novel by Francis Walton :
Lee Katz and Albert DeMond wrote the screen play ; John
Farrow directed it, and Bryan Foy produced it. In the cast
are Victor Jury, Maxie Rosenbloom, Kddie Foy, Jr., Eve
Arden, and others.
Suitability, Class A.
64
HARRISON'S REPORTS
April 22, 1939
Neely Bill should become a law; they will be compelled to
install business methods in producing pictures, ceasing to
remunerate incompetence and encouraging those who can
make meritorious pictures.
One of the arguments that have been made before the
committee by these witnesses is the tact that the Bill does
not make the showing of immoral lilms impossible. The
showing of several such pictures, not contracted for in
blocks, was put forward as a substantiation. 1 doubt w hether
any Allied leaders have said that it would; but they have
said that it w ill make the exhibitor responsible to the people
of his community for the type of pictures he would show.
It he would, lor example, choose to show the crime pictures
produced now-a-days, which have in some instances been
almost half of the total output of some companies — if he
should continue doing so and should receive no protests
from the people of his community, he could not be blamed,
for the lack of protests would indicate that they like this
type of pictures, or they tolerate them ; but if he should
receive strong protests, he would, regardless of how much
■money be might make in showing such pictures, be com-
pelled to cease booking them. If he should not, his invest-
ment might be put in jeopardy. And no exhibitor likes to
■lose the good will of the people of his community. Without
a law such as Senator Neely seeks to have enacted, he is
helpless.
One of the speakers made statements that should prove
heroful to the proponents of the Bill; he said that the Bill
will not make it possible for an exhibitor to cancel an un-
desirable picture, by virtue of the fact that he would have
a contract for it. If the exhibitor will be unable to cancel
a picture under the anti-block-booking law because of the
contract, he certainly has less right to do so now and as
lon,<; as the present system should prevail. The good ol the
business then demands that, if the right to cancel a picture
after a contract is made is to be denied to the exhibitor
under any system, it is better that such a denial be made
under the Neely Bill, for in such circumstances he and he
alone will be responsible to the people of his community for
knowingly entering into a contract for a picture tiiat would,
to his knowledge, displease the people of his community.
Another of this speaker's statement was to the effect that
the responsihlity for the maintaining of moral standards is
taken away from the producer, "to whom it really belongs,"
and placed upon the exhibitor. Such a statement is. of
course, wilder than any of the others. Since when have the
Hollywood producers thought more of the moral standards
of pictures than of their pocketbooks ? There have been
individual exceptions, of course, but the query applies to
the great majority. The Hollywood producers have thought
of moral standards only from the time the churches threat-
ened boycott of the picture theatres.
Some of the questions that the independent exhibitor must
bear in mind in the matter of the code of trade reforms, the
final draft of which has already been submitted to the ex-
hibitors, are these: (1) Can he live under a system that
makes it possible for the wholesalers to be in competition
with their customers? (2) Can he conduct his theatre more
profitably when he has to buy every picture a distributor
makes in order that he may obtain the ones he really w ants ?
If lie should satisfy himself that he can, the next question
that he has to answer is this : Will the producers retain
these reforms even if a more stand-patter administration
were to replace the present administration in Washington?
If your answers should all be in the negative, then com-
municate with your Senator, urging him to give the Neely
Bill his whole-hearted support.
BOX-OFFICE PERFORMANCES OF
1938-39 SEASON'S PICTURES — No. 3
RKO
1937 38
•'Fisherman's Wharf," with iiooby Breen, Leo Carrillo.
and Henrj Armetta; produced by Sol Lesser and directed
by Bernard Vbrhaus, from a screen play by Bernard Schu-
bert, Ian Hunter, and Herbert C. Lewis: Good-Poor.
Forty-six pictures have been released. Grouping the pic-
tures, of the different ratings from the beginning of the
season, we get the following results :
Excellent-Good, 2; Very Good-Good. 2; Good-Fair, 9;
Good- Poor, 8; Fair, 8; Fair-Poor, 15 ; Poor, 2.
Forty-six pictures were released in the 1936-37 season.
They were rated as follows :
Excellent-Fair. 1 ; Very Good-Good, 2; Good, 4; Good-
Fair, 11; Fair, 12; Fair-Poor, 12; Poor, 4.
1938-39
"The Law West of Tombstone," with Harry Carey and
Tim Holt; produced by Cliff Reid and directed by Glenn
Tryon, from a screen play by John Twist and Clarence W.
Young : Good-Poor.
"Peck's Bad Boy with the Circus," with Tommy Kelly,
Ann Gillis, and Edgar Kennedy ; produced by Sol Lesser
and directed by Edward F. Cline, from a screen play by
Al Martin, David Bochm, and Robert Neville: Fair-Poor.
"Next Time 1 Marry," with Lucille Bail and James
Ellison; produced by Llitf Reid and directed by Garson
Kanin, from a screen play by Dudley Nichols and John
Tw ist : Good- Poor.
"Pacific Liner," with Victor McLaglen, Chester Morris,
and Wendy Panic: produced by Robert Sisk and di-
rected by Lew Landers, from a screen play by John Tv. ist :
Fair.
"Great Man Votes." with John Barrymore, Virginia
Weidler, and Peter Holden ; produced by Cliff Reid and
directed by Garson Kanin, from a screen play by John
Twist : Good-Fair.
"Arizona Legion," with George O'Brien and Laraine
Johnson; produced by Bert Gilroy and directed by David
Howard, from a screen play by Oliver Drake: Good-Fair.
"Boy Slaves," with Anne Shirley, Alan Baxter, Roger
Daniel, and James MeLallion ; produced and directed by
I'. J. Wolfson, from a screen play by Albert Bein and Ben
Orkow : Fair-Poor.
"Gunga Din," with Douglas Fairbanks, Jr., Cary Grant,
Victor McLaglen, and Joan Fontaine; produced and di-
rected by George Stevens, from a screen play by Joel Sayre
and Fred Ouil : Excellent.
"Beauty For the Asking," with Lucille Ball, Patrick
Knowlcs, and Frieda Inescort ; produced by B. P. Fineman
and directed by Glenn Tryon, from a screen play by Doris
Anderson and Paul Jarrico: Good-Poor.
Eighteen pictures have been released. Grouping the pic-
tures of the different ratings from the beginning of the
season, we get the following results :
Excellent, 1 ; Good-Fair, 7 ; Good-Poor, 3 ; Fair, 3 ; Fair-
Poor, 4.
The lirst eighteen pictures in the 1937-38 season were
rated as follows :
Excellent-Good, 1 ; Good-Fair, 4; Fair, 5; Fair-Poor, 6;
Poor, 2.
United Artists
"Cowboy and the Lady," with Gary Cooper and Merle
Oberon ; produced by Samuel Goldwyn and directed by
H. C. Potter, from a screen play by S. N. Behrman and
Sonya Levien : Excellent-Good.
"Trade W inds," with Fredric March. Joan Bennett, and
Ralph Bellamy; produced by Walter Wanger and directed
by Tay Garnett, from a screen play by Dorothy Parker,
Alan Campbell, and Frank R. Adams: Good.
"Duke of West Point," with Louis Hayward, Richard
Carlson, Tom Brown, and Joan Fontaine; produced by
Edward Small and directed by Alfred E. Green, from a
screen play by George Bruce : Good.
"Topper Takes A Trip," with Constance Bennett and
Roland Young; produced by Milton H. Bren and directed
by Norman Z. McLeod, from a screen play by Eddie
Mora;). Jack Jevne, and Corey Ford: Good.
"Made For Each Other," with Carole Lombard and
James Stewart ; produced by David O. Selznick and di-
rected by John Cromwell, from a screen play by Jo Swerl-
ing : Very Good.
"King of the Turf," with Adolphe Menjou and Roger
Daniel ; produced by Echvard Small and directed by Alfred
E. Green, from a screen play by George Bruce : Good.
"Stagecoach." with Claire Trevor, John Wayne, and
Thomas Mitchell ; produced by Walter Wanger and di-
rected by John Ford, from a screen play by Dudley Nichols :
Very Good-Good.
Eleven pictures have been released. Grouping the pictures
of the different ratings from the beginning of the season, we
get the following results :
Excellent-Good, 1 ; Very Good, 1 ; Very Good-Good, 2 ;
Very Good-Fair, 1 ; Good, 4 ; Good-Fair, 2.
The first eleven pictures in the 1937-38 season were rated
as follows :
Excellent-Very Good, 3; Excellent-Good, 1; Good, 2;
Good- Poor, 1 ; Fair, 2; Fair-Poor, 1 ; Poor, 1.
Entered as second-class matter January 4, 1921, at the post office at New York, New York, under the act of March 3, 187S.
Harrison's Reports
Yearly Subscription Rates : 1270 SIXTH AVENUE Published Weekly by
United States $15.00 P,ww« 1 CI 9 Harrison's Reports, Inc.,
U. S. Insular Possessions. 16.50 KOOm lOU Publisher
panada 16.50 NeVT York, N. Y. P. S. HARRISON, Editor
Mexico, Cuba, Spain 16.50 . „ . . ' „ * „ ,
Great Britain 15 75 A Motion Picture Reviewing Service
Australia, New Zealand, Devoted Chiefly to the Interests of the Exhibitors Established July 1, 1S19
India, Europe, Asia .... 17.50
35c a Copy Its EditoriaI Policy: No Problem Too Big for Its Editorial Circle 7-4622
Columns, if It is to Benefit the Exhibitor.
A REVIEWING SERVICE FREE FROM THE INFLUENCE OF FILM ADVERTISING
Vol. XXI SATURDAY, APRIL 29, 1939 No. 17
UNITED ARTISTS POINTS THE WAY!
In the issues of January 16, 1937, and of May 21, 1938, 1938, you would have the right to play only those pictures
I informed you that, if you wanted to huy from United released generally during the period of thirteen and a half
Artists pictures produced only by Mr. David Selznick, you months ending September 15, 1939.
could do so. In other words, you were not under any obliga- The United Artists contract for the 1939-40 season will
tion to buy pictures made by any other producer releasing be valid for twenty months from the day it is signed. In
his pictures through United Artists. My authority for such other words, if you should sign a United Artists 1939-40
a statement was, as I informed you in the May 21, 1938 season's contract on, for example, August 1, 1939, United
issue, Mr. David Selznick himself. Artists will be under an obligation to deliver to you all the
I am now in a position to give you some more important pictures released within twenty months ; tliat is, up to
information regarding the policy of United Artists for the April 1, 1941. This indicates that United Artists and the
1939-40 season : producers releasing pictures through it are willing to assure
( 1 ) Heretofore, contracts of this company contained a you that no producer releasing his pictures through that
provision making it obligatory on the part of an exhibitor company will ever hold a picture back, just because it
to play the entire program of United Artists pictures con- turned out to be good, so as to sell it to you the following
traded for in the order of their release. In other words, if season for more money.
a Selznick, or a Wanger, or a Small, production, or the Since these selling-practice reforms of United Artists
picture of any other producer, was available for your use. are, not the result of protracted conferences with exhibitor
tiie exchange would not deliver it in case you had failed to representatives, but voluntary, it is manifest that those who
"lift" a picture of another producer with an earlier release make its pictures are in effect telling the exhihitors of the
date. In the 1939-40 season, it will no longer be so : you United States, and of the world, for that matter, this :
will be able to play the picture of one producer even though "Gentlemen : We have confidence in the pictures we are
it should be released later than the pictures of some other going to produce. You may buy one, or you may buy all —
producers, which you had not yet played. just as you wish. We leave that matter to you, because we
For instance, if you should buy the entire United Artists know that our pictures will be so good and the prices will
program, and if a Wanger picture should be released on be so fair that you will want to buy them all."
October 1, and a Small picture on October 15, and a Selz- What makes this step significant is the fact that this
nick picture on November 1, you would have the right to company owns no theatres. Consequently, it cannot depend
play the Selznick picture before you had played the other on such a medium to help it recoup the production cost,
two. That cost, as well as any profit, must come solely from the
As for a group or series of pictures made by the same sale of the pictures to exhibitors,
producer, you would have to play them in the order of Since receiving this startling information, I have pon-
their release, but, as I have been informed reliably, in case dered the following question : If United Artists, with no
of an emergency, you might get permission from the pro- theatres to use as a powerful leverage, can institute a policy
ducer to play out of their regular order even those pictures. of selling its pictures on merit, why cannot the other
In other words, if you should find it necessary to play a producer-distributors?
later-release Selznick picture before you bad played a It isn't altogether the desire of the other big producers
prior-release Selznick, you will, no doubt, be able to get to maintain the monopoly they are now enjoying, for with
permission from the Selznick representatives to do so, pro- the principle of selling pictures on merit, there will be a
vided you can show that there is a real necessity for it. The greater profit not only for the exhibitor but also for the
same holds true with respect to the pictures of any other producers themselves, for once the exhibitor is able to
producer releasing through United Artists. choose from the different producers only the pictures that
(2) Heretofore, United Artists considered a breach of will bring him a profit, he will naturally be willing to pay
one contract by the exhibitor as a breach of all contracts more for them. And no producer-distributor will be the
by him. Clause 15th of the contract gave the distributor loser in any respect, for the play-dates are the same, no
the right to attach to a shipment a C.O.D. of all monies matter whether the pictures are sold under the system
owed by the exhibitor. During the 1939-40 season, a breach United Artists has established or under the present system,
of one producer's contract will not be considered a breach I have been told that, what holds the producers back is
of the contracts of the other producers. In other words, if lack of capital. Under the prevailing system they can
a shipment of a Selznick. or a Wanger, or a Korda, picture "hock" the contracts with the banks and raise money with
were to be made to you. the distributor could not attach to which to produce the pictures. Without such a privilege they
the C.O.D. any monies that might be claimed to be due think that they are lost.
from you, as a result of a controversy, to any other pro- But it is hardly so : Metro-Goldwyn- Mayer, for example,
ducer releasing through United Artists. lias a cash reserve that could enable it to produce its entire
(3) You will be able to buy only one picture, if you season's output without having to borrow a penny. Would
should so desire, without having to buy any other. This will Twentieth Century-Fox have any trouble in raising the
hold true even with pictures of the same producer. money that it would need? Some of the other big companies,
(4) As you all know, most exhibition contracts arc too, could get by. That leaves the smaller companies,
signed during the months of June, July and August, and But even these companies could get along, for they would
cover pictures released generally during the period starting not be compelled to produce their entire season's output
in August of that year and ending in September of the before starting to sell ; they could produce one-half do/en
following year. As a matter of fact, the United Artists con- at a time, and they would have no trouble selling them as
tract for the 1938-39 season provides that it covers pictures ,ast as thfty make them.
released generally up to September 15, 1939. If you had But to establish the system that United Artists has estab-
signed a United Artists contract on, let us say, August 1, Hshed requires confidence in the ability of a picture com
(Contimttd on lest page)
66
HARRISON'S REPORTS
April 29, 1939
"Man of Conquest" with Richard Dix,
Edward Ellis, Joan Fontaine
and Gail Patrick
(Republic, May 15; time, 98 min.)
With "Alan of Conquest" Republic makes an auspicious
entry in the field of historical dramas. Produced with care,
and directed and acted with great skill, it offers entertain-
ment that can be compared favorably with that of any
major-company output. It is interesting from the very be-
ginning, for it deals with the development of the personal
life of Sam Houston; but it becomes very exciting in the
second half. Particularly effective are the battle scenes in
which Houston leads his men to charge against the Mexi-
cans, inspiring them on to bravery by crying "Remember
the Alamo !", for it was there that the Mexicans under
Santa Ana had slaughtered innocent men, women, and
children. The story revolves around historical events in
American history that should interest all types of audiences.
Sam Houston (Richard Dix), who had been living with
the Cherokee Indians for a year, arrives home in time to
hear that the British had burned Washington, and that An-
drew Jackson (Edward Ellis), was calling for volunteers.
Houston's bravery on the battlefield comes to Jackson's
attention, and they become good friends. Jackson, as Pres-
ident of the United States, campaigns for Houston's reelec-
tion as Governor of Tennessee. Houston marries Eliza Al-
len (Joan Fontaine), a delicate girl who had been reared in
an atmosphere of refinement. After the marriage, he takes
her with him on his campaign tour to rough settlements.
Horrified at the vulgarity of Houston and his friends, Kliza
leaves him ; she later obtains a divorce. Houston gives up
everything to become a member of the Cherokee tribe. En-
raged at the way the Indians were being tricked out of their
land, Houston goes to Washington to sec Jackson. Jackson
offers to help the Indians it Houston would leave them and
give his talents to the government ; he accepts Houston
meets and falls in love with Margaret Lee (Gail Patrick) ;
but he refused to commit himself because he felt he had im-
portant work to do — to free Texas from incompetent Mexi-
can rule. Austin ( Ralph Morgan), the Texas leader, at first
led by Santa Ana (C. Henry Gordon), makes Austin real-
ize that Houston was right. After fierce fighting, the Mexi-
cans are routed, and Texas is declared a free republic.
Houston marries Margaret. Eventually he brings Texas
into the union ; Jackson, on his deathbed, is overjoyed at the
news.
Harold Shumate and Wells Root wrote the story, and
Wells Root, E. E. Paramore, Jr. and Jan Fortune, the
screen play; George Nicholls, Jr. directed it, and Sol C.
Siegel produced it. In the cast are Victor Jory, Robert
Barrat, George Hayes, Robert Armstrong and Janet
Beecher. Suitability, Class A.
"Sorority House" with Anne Shirley
and James Ellison
(RKO, May 12; time, 64 min.)
A delightful picture. Although the background is a col-
lege, the story does not include jazzing, drinking and love-
affair escapades ; it deals with a straight love affair, in
which a college boy is in true love with a college girl,
eventually resulting in marriage. This affair is interwoven
with the hopes and the aspirations of first-year college
girls to join a sorority. Miss Shirley certainly is develop-
ing, not only into a fine, but also a charming, actress. In
the scenes where she, having felt remorse because she had
not invited her lowly father into the sorority house where
a reception for the parents of students was held, rushes to
him, and falling on his neck she cries, begging his forgive-
ness, the spectators will be unable to suppress their emo-
tions ; they will feel that Anne just did what a real girl
should have done, and forgive her for her thoughtlessness.
Barbara Read wins one's sympathy by her fortitude when
she finds herself uninvited to a sorority. Adele Pearce, too,
does good work as the student who should "die" if she
should not be invited; the breaking of her heart does, in-
deed, arouse the spectator's commiseration. J. M. Kerrigan
is natural as the father of Anne Shirley, and wins one's
sympathy.
The picture, although of program grade, is "class" ; no
exhibitor should be ashamed to exploit it intensively so as
to draw patrons into his theatre, for the photography and
the settings are a treat to the eye.
The picture has been founded on the story "Chi House,"
by Mary Coyle Chase. Dalton Trumbo wrote the screen
play, John Farrow directed it, and Robert F. Sisk produced
it, under the general supervision of Lee Marcus.
Goorl on any day of the week, for anybody ; but young
folk should enjoy it particularly well. Suitability, Class A.
"For Love or Money" with June Lang,
Robert Kent, Ed Brophy and
Etienne Girardot
(Universal, April 28; time, 66J4 viin.)
Pretty good. Although the story is fantastic, it has at
least been produced as a "class" picture. Because of the
good direction and acting, one's interest is held to the end.
The surprise feature is the revelation that Etienne Girardot,
who had been calling himself Julius Caesar, is not an in-
sane person, but really a multi-millionaire. There are some
thrills, caused by the fact that the hero's life is endan-
gered. And the love affair is fairly charming: —
Robert Kent, an impoverished young man, who had for-
merly been wealthy, and Ed Brophy, his bodyguard, worked
for Richard Lane, a gambler. Lane had been placing horse-
race bets over the telephone with a Mr. Poindexter ( Etii line
Girardot), who always won. The last bet being for $50,000,
Lane, on Kent's advice, "hedges" ; he places an equal
amount with Addison Richards, another gambler. When
the race is over, Lane sends Kent to collect the money from
Richards. Richards gives it to him but instructs two gun-
men to hold him up as he was leaving the building. Kent,
sensing the trick, hands the money to Brophy, who runs
into an office where advertising by mail was done for a face
powder. He asks for an envelope to mail the money to
Lane but, through a mix-up, he mails the wrong envelope.
When 1-ane receives an envelope containing face powder
instead of the money, he gives Kent 24 hours to produce the
money, Kent locates the girl (June Lang) who had re-
ceived the money, but finds that she had spent most of it.
In desiieration, Kent invites Miss Lang, Brophy, and two
of Lane's men who had been trailing him, to a fashionable
restaurant for a last supper ; by being unable to pay, he
hoped to be arrested. But Lane is there to pay the bill.
Kent is taken tor a ride. When Miss Lang discovers that
"Julius Caesar," who had been betting with them in the
restaurant on silly notions, was Girardot ( Poindexter), the
millionaire, she rushes with him to rescue Kent by having
Girardot pay Lane the $50,000 he owed Kent as a result
of a silly wager. After Kent's release, Girardot takes back
his check from I^ane to even up the $50,000 Lane owed him
on the last horse race. Miss Lang and Kent, who by this
time had fallen in love with each other, decide to marry.
Julian Blaustein, Daniel Taradash and Bernard Feins
wrote the story, and Charles Grayson and Arthur Herman,
the screen play ; Al Rogell directed it. In the cast are Ed-
ward Gargan, Horace MacMahon, Cora Witherspoon, and
others.
Because of the gangster twist, suitability. Class B.
"The Kid From Texas" with Dennis O'Keefe
and Florence Rice
(MGM, April 28; time, 70 min.)
Fair program entertainment, with pretty good produc-
tion values. It combines comedy with romance, and, for
excitement, offers a few polo matches that are worked
into the plot in a logical manner. At the beginning, the
hero is a somewhat annoying character, for he is given to
bragging and silliness ; but as the story develops he becomes
more likeable, finally winning the spectator's sympathy.
The romance is routine, culminating in marriage after
many misunderstandings : —
Dennis O'Keefe, a cowboy, longs to play polo. When his
favorite horse is sold, he follows the buyer (Anthony
Allan) to Long Island, inducing him to engage him as an
assistant. O'Keefe falls in love with Allan's sister (Flor-
ence Rice), but she considers him a nuisance. When he is
finally given his chance to play polo with Allan's team,
he messes things up, making a fool of himself. He decides
to leave, to join a rodeo in which his ranch friends were
appearing. By introducing polo as the feature attraction, he
puts the rodeo on a paying basis, much to the relief of the
owner (Virginia Dale), who falls in love with him. A
match is arranged between O'Keefe's and Allan's teams,
with O'Keefe's team coming out victorious. But he is down-
cast, for he had promised Miss Dale that, if he won the
game, he would marry her. Miss Rice, realizing that she
loved O'Keefe, is unhappy when she hears of his mar-
riage plans. But Miss Dale, a good sport, releases O'Keefe,
who is joyfully united with Miss Rice.
Milton Merlin and Byron Morgan wrote the story, and
Florence Ryerson, Edgar Allan Woolf and Albert Mann-
heimer, the screen play; S. Sylvan Simon directed it, and
Edgar Selwyn produced it. In the cast are Jessie Ralph,
Buddy Ebsen, Robert W'ilcox, Jack Carson, and others.
Suitability, Class A.
April 29, 1939
HARRISON'S REPORTS
67
"The Hardys Ride High" with Mickey
Rooney and Lewis Stone
(MGM, May 5; time, 80 mini)
A very good addition to the "Hardy Family" series. It
should go over very well, for it has plentiful comedy, and
human appeal. The production is a little more lavish than
usual, since the family is taken out of their customary sur-
roundings and placed in a luxurious city home. Most of the
laughter is provoked by Mickey Rooney's actions; particu-
larly comical are his attempts to act like a man of the
world once he gets to the city. One is held in suspense, not
knowing until the end whether the family would inherit a
$2,000,000 fortune or not :—
When Stone learns that he had fallen heir to a $2,000,000
estate, provided he could prove his right to it, he is naturally
overjoyed. He and his family leave for the city to meet the
lawver. The lawyer insists that they live in the luxurious
home that would eventually be theirs. John King, the
adopted son of the man who had died, is disappointed that
he had not inherited the fortune ; but he pretends to be com-
pletely satisfied. His purpose was to try to find a loophole
by which he could get the estate away from them. Mickey,
feeling that he was now a millionaire playboy, is happy
when King suggests taking him to a nightclub where he
could meet chorus girls. King's chorus-girl friend (Vir-
ginia Grey) plays up to Mickey, inviting him to her apart-
ment. He goes there, but becomes so frightened, that he
runs away. Stone and his family go back home in order to
go through their old papers so as to establish their right
to the money ; but the only evidence Stone could find
showed that his grandfather was not really born into the
wealthy family but had been adopted into it ; therefore, he
could not claim the estate. Although he could still obtain
the estate by burning the evidence, no one in the family
wants the money that way. And so they give up their
dreams, and settle down to their old way of living.
Agnes C. Johnston, Kay Van Riper and William Lud-
wig wrote the screen play, and George B. Seitz directed it.
In the cast are Fay Holden, Cecilia Parker, Ann Ruther-
ford, Sara Haden, Minor Watson, and others.
Suitability, Class A.
"East Side of Heaven" with Bing Crosby,
Joan Blondell and Mischa Auer
(Universal , April 7; time, 86 win.)
A delightful comedy, with human appeal. The plot is
simple, but consistently amusing, because of good gags and
comical dialogue. As an added attraction, for women in
particular, there is "Sandy," the infant member of the cast,
whose charm will bring forth "ohs" and "ahs" from de-
lighted audiences. Crosby plays the part of the nonchalant
jack-of-all-trades with ease, since it fits his talents to per-
fection. He sings a few good numbers, which, instead of
interrupting the action, blend in well with the story. Mischa
Auer is as comical as ever, provoking hearty laughter with
each appearance. And Joan Blondell teams up well romanti-
cally with Crosby : —
Crosby, who worked for a telegraph company, singing
greetings over the telephone, loses his job when, upon
singing a birthday message personally to C. Aubrey Smith,
a well-known millionaire, he ends up by berating him for
not treating decently his daughter-in-law (Irene Hervey).
Miss Hervcy's husband ( Robert Kent) had left her in order
to lead a carefree life, drinking most of the time; and
Aubrey wanted her to leave his home, but without her
baby. Being out of a job, Crosby is again compelled to
postpone his marriage to Miss Blondell, telephone operator
at a hotel. He next obtains a i>osition with a taxicab com-
pany as a singer to amuse customers while driving them
around. One night, Miss Hervey leaves her baby in Crosby's
cab, with a note pleading with him to care for the baby
until she could find her husband. Auer. Crosby's room-
mate, is horrified, for he had read that the police believed
the baby had been kidnapped. Miss Blondell helps them
care for the baby. In the meantime, Jerry Cowan, a radio
commentator, accidentally finds out about the baby and
steals him from Crosby's room, his intention being to
obtain all the credit for himself for having found the baby.
But Crosby, with the help of Auer and Miss Blondell, out-
wits Cowan and gets the baby back. He presents him to his
parents, who had returned just as Crosby was going to
turn the baby over to Smith. Smith, who was happy that
the baby was safe, sponsors a radio program, with Crosby
as singer.
David Butler and Herbert Polesie wrote the story, and
William Conselnian, the screen play; David Butler di-
rected it. and Herbert Polesie produced it. In the cast are
Rose Balyda. Helen Warner, Matty Malneck and orchestra,
and others. Suitability, Class A.
"Back Door to Heaven" with Wallace Ford,
Stuart Erwin, Aiine McMahon and
Patricia Ellis
(Paramount, April 21 ; time, 85 mm.)
A strong but sombre, distasteful, and considerably de-
moralizing crook melodrama. And the story does not con-
vey any message. The chief character cannot be called a
hero, for he starts his crime career from his early youth.
All through the picture, he follows a career of crime, and
he is sentenced either to jail or to the penitentiary. What is
more distasteful than anything else is the fact that the
author glorifies this criminal in the end, for he shows him
as having been convicted of murder in the first degree for
a crime that was committed, not by himself, but by his two
pals ; he was caught on the scene of the crime because he
had gone there to stop them from committing it. In other
words, the picture is a glorification of a criminal.
The most gripping part is in the end, where the criminal,
having broken jail after he was sentenced to death, steals a
car and drives at break-neck speed to the schoolhouse of his
home town, where his class was holding a reunion, with the
school teacher, now gray, present. The class had been
called together by one of the ex-pupils, now a banker, to
get some cheap publicity. After bidding his former school-
mates good-bye, the criminal departs with the intention of
going back to jail, but he is shot and ( supposedly ) killed
just as he comes out of the school house by prison guards,
who had been pursuing him.
John Bright and Robert Pasker wrote the screen play,
from an original story by William K. Howard, who also
directed and produced it.
Suitability, Class B.
"The Family Next Door" with Hugh
Herbert, Joy Hodges and Eddie Quillan
(Universal, Mar. 31 ; time, 60 mm. )
A mildly amusing family comedy, suitable mostly for
neighborhood theatres. A few situations provoke laughter,
but for the most part the comedy is forced, becoming tire-
some at times. With the exception of the youngest child
(Juanita Quigley), the members of the family are none
too appealing. But this is not the fault of the actors, since
the performances are adequate enough; it is just that (hey
are placed in silly situations : —
Ruth Donnelly, married to Hugh Herbert, a plumber, is
constantly nagging him about his inability to provide a
more luxurious home for his four children (Joy Hodges.
Eddie Quillan, Bennie Bartlett, and Juanita Quigley). She
is concerned mostly about Miss Hodges, fearing that she
would not be able to win a husband for herself. When
Quillan suggests that his mother turn over to him her life
savings of $5,000, she is at first reluctant, but later suc-
cumbs. From the way Quillan described the real estate
proposition he had in mind, Miss Donnelly felt certain that
they would make a great deal of money. Not until after
he purchases the property does he find out that he could
not build on it since the land was all quicksand. Every one
in the family is despondent. But their sorrow is changed to
joy when a young scientist (James Bush) finds that the
sand on the property would be valuable for glass-making.
Not only are their financial difficulties settled, but Miss
Hodges finds a suitor in the person of the scientist.
Mortimer Oft'ner wrote the original screen play; Joseph
Santley directed it, and Max Golden produced it. In the
cast are Thomas Beck, Cecil Cunningham, Frances Robin-
son, and others.
Suitability, Class A.
"The Return of the Cisco Kid" with Warner
Baxter, Robert Barrat, and Lynn Bari
(20//( Century-Fox, April 28; time. 71 mm.)
Those who follow western melodramas should enjoy this
one, because the action is fast and the chief character per-
forms heroics. The only bad feature about it is the fact
that the hero is a bandit, and is shown holding up a stage-
coach. It is toward the end where he is. in a way, regener-
ated, for he becomes the means by which the heroine and
her grandfather receive back property that had been stolen
from them by the villain. But in order to do that, he had to
do more holding ti|> — -he holds up the villain's bank and
steals $100,000, which he pays to the villain tor the deed
to the property. Such doings are not very edifying to child-
drcn. who are the most faithful followers of westerns.
The plot has been taken from a story by (). Henry; it
was put into screen-play form by Milton Sperling. Herbert
Leeds directed it, and Kenneth Macgowan produced it. In
the cast are, Cesar Romero. Henry Hull. C Henry Gordon,
and Kane Richmond. Suitability, Class B.
6S
HARRISON'S REPORTS
April 29, 1939
pany to deliver the quality pictures it asserts in the begin-
ning of each season that it is going to deliver. And it seems
as if, with the exception of United Artists, no other com-
pany has such confidence.
It is the duty of every exhibitor to give United Artists
his support. If the United Artists system should prove a
'•howling" success, there is no question that the others will
adopt it without much coaxing.
BOX-OFFICE PERFORMANCES OF
1938-39 SEASON'S PICTURES— No. 4
Twentieth Century-Fox
"Submarine Patrol," with Richard Greene, Preston
Foster, and Nancy Kelly ; produced by Gene Markey and
directed by John Ford, from a screen play by Kian James,
Darrell Ware, and Jack Yellen: Good-Fair.
"Road Demon," with Henry Armetta and Henry Arthur ;
produced by Jerry Hoffman and directed by Otto Brower,
from a screen play by Robert Ellis and Helen Logan : Fair-
Poor.
"Up the River," with Preston Foster, Arthur Treacher,
Phvllis P»rooks, and Tony Martin; produced by Sol M.
Wurtzel and directed by Alfred Werker, from a screen
play by Lou Brcslow and John Patrick: Good-Poor.
"Down on the Farm," with Jed Prouty, Spring Byington
and Louise Fazenda : produced by John Stone and directed
by Malcolm St. Claire, from a screen play by Robert Ellis
and Helen Logan : Good- Poor.
"Thanks for Everything," with Jack Haley, Adolphe
Menjou, Jack Oakie and Arleen Whelan; produced by
Harry Joe Brown and directed by William A. Seiter, from
a screen play by Curtis Kenyon and Art Arthur : Good-
Fair.
"Kentucky," with Loretta Young, Richard Greene, and
Walter Brennan ; produced by Gene Markey and directed
by David Butler, from a screen play by John T. Foote and
Lamar Trotti : Excellent-Good.
"While New York Sleeps," with Michael Whalen and
Jean Rogers ; produced by Sol M. Wurtzel and directed by
FI. Bruce Humberstone, from a screen play by Frances
Hyland and Albert Ray : Good-Poor.
"Charlie Chan in Honolulu," with Sidney Toler, Phyllis
Brooks, and John King ; produced by John Stone and di-
rected by H. Bruce Humberstone, from a screen play by
Charles Belden : Good-Poor.
"Mr. Moto's Last Warning," with Peter Lorre, Ricardo
Cortez, and Virginia Field; produced by Sol M. Wurtzel
and directed by Norman Foster, from a screen play by
Philip MacDonald and Norman Foster : Good-Poor.
"Smiling Along," with Gracie Fields and Roger Livesey ;
produced by Robert T. Kane and directed by Monty Banks,
from a screen play by William Conselman : Fair-Poor.
"Jesse James," with Tyrone Power, Henry Fonda, Ran-
dolph Scott, and Nancy Kelly ; produced by Nunnally
Johnson and directed by Henry King, from a screen play
by Nunnally Johnson : Excellent.
"Arizona Wildcat," with Jane Withers and Leo Carrillo ;
produced by John Stone and directed by Herbert I. Leeds,
from a screen play by Barry Trivers and Jerry Cady :
Good-Fair.
"Tail Spin," with Alice Faye, Constance Bennett, and
Nancy Kelly; produced by Harry Joe Brown and directed
by Roy Del Ruth, from a screen play by Frank Wead:
Good-Fair.
"Three Musketeers," with Don Ameche, The Ritz Broth-
ers, and Binnie Barnes ; produced by Raymond Griffith and
directed by Allan Dwan, from a screen play by M. M.
Musselman, William A. Drake, and Samuel Hellman :
Good-Fair.
"Pardon Our Nerve," with Lynn Bari, June Gale, and
Michael Whalen; produced by Sol M. Wurtzel and di-
rected by H. Bruce Humberstone, from a screen play by
Robert Ellis and Helen Logan: Good-Poor.
"Wife, Husband and Friend," with Warner Baxter,
Loretta Young, and Binnie Barnes; produced by Nunnally
Johnson and directed by Gregory Ratoff, from a screen play
by Nunnally Johnson : Very Good-Poor.
"Inside Story," with Michael Whalen and Jean Rogers,
produced by Howard J. Green and directed by Ricardo
Cortez, from a screen play by Jerry Cady : Fair-Poor.
"The Lady Vanishes," with Margaret Lockwood, Michael
Redgrave, and Paul Lukas ; directed by Alfred Hitchcock,
from a screen play by Sidney Gilliat and Frank Launder :
Very Good- Poor.
Thirty-four pictures, including "The Lady Vanishes," a
Gaumont-British picture, have been released. Grouping the
pictures of the different ratings from the beginning of the
season, we get the following results:
Excellent, 2; Excellent-Good, 1; Very Good-Goud, 2;
Very Good-Fair, 1; Very Good-Poor, 2; Good-Fair, 12;
Good-Poor, 7; Fair, 3; Fair-Poor, 4.
The first thirty-four pictures in the 1937-38 season were
rated as follows :
Excellent, 1 ; Excellent-Very Good, 2 ; Excellent-Good,
1 ; Very Good-Good, 4 ; Very Good-Fair, 2 ; Good-Fair, 1 1 ;
Good-Poor, 3; Fair, 7; Fair-Poor, 2; Poor, 1.
Universal
"Mars Attacks the World," with Larry Crabbe and
Jean Rogers; directed by Ford Beebe and Robert Hill,
from the original story by Alexander Raymond : Good-
Poor.
"Little Tough Guys in Society," with Mischa Auer, Mary
Boland, and Edward Everett Hortou ; produced by Max H.
Golden and directed by Eric C. Kenton, from a screen play
by Edward Eliscu and Mortimer Offner: Very Good-Fair.
"Strange Faces," with Dorothea Kent. Frank Jenks, and
Andy Devine ; produced by Hurt Kelly and directed by
Enrol Taggart, from a screen play by Charles Grayson :
Fair- Poor.
"Secrets of a Nurse," with Edmund Lowe, Helen Mack,
and Dick Foran ; produced by Burt Kelly and directed by
Arthur Lubin, from a screen play by Tom Lennou and
Lester Cole: Fair- Poor.
"Ghost Town Riders." with Bob Baker and Hank
\Yarden ; produced by Trem Carr and directed by George
Waggner, from a screen play by Joseph West : Fair.
"Swing Sister Swing," with Ken Murray, Johnny Downs,
and Ernest Trucx ; produced by Burt Kelly and directed
by Joseph Santley, from a screen play by Charles Grayson:
Fair-Poor.
"Newsboys' Home," with Jackie Cooper, Wendy Barrie,
and Edmund Lowe ; produced by Ken Goldsmith and di-
rected by Harold Young, from a screen play by Gordon
Kahn : Fair- Poor.
"The Last Warning," with Preston Foster, Frank Jenks,
and Frances Robinson; produced by Irving Starr and di-
rected by Al Rogell, from a screen play by Edmund L.
Hartmann: Fair-Poor.
"Son of Frankenstein," with Boris Karloff, Basil Rath-
bone, Bela Lugosi, Lionel Atvvill. and Josephine Hutchin-
son; produced and directed by Rowland V. Lee, from a
screen play by Willis Cooper: Good-Fair.
"Gambling Ship," with Robert Wrilcox and Helen Mack ;
produced by Irving Starr and directed by Aubrey Scotto,
from a screen play by Alex Gottlieb : Fair-Poor.
"Pirates of the Skies," with Kent Taylor, Rochelle
Hudson, and Regis Toomey ; produced by Barney Sarecky
and directed by Joe McDonough, from a screen play by
Ben G. Kohn : Fair-Poor.
"Phantom Stage," with Bob Baker and Marjorie Reyn-
olds ; produced by Trem Carr and directed by George
Wraggncr, from a screen play by Joseph West : Poor.
"You Can't Cheat An Honest Man," with W. C. Fields,
Edgar Bergen, and Constance Moore ; produced by Lester
Cowan and directed by George Marshall, from a screen
play by George Marion, Jr., Richard Mack, and Everett
Freeman : Very Good-Good.
Twenty-eight pictures, including Westerns, have been
released. Grouping the pictures of the different ratings
from the beginning of the season, exclusive of one Wrestern
on which reports have not been obtained, we get the follow-
ing results :
Very Good-Good, 1 ; Very Good-Fair, 1 ; Good-Fair, 4;
Good-Poor, 2; Fair, 7; Fair-Poor, 11; Poor, 1.
The first twenty-eight pictures in the 1937-38 season, in-
cluding Westerns, were rated as follows :
Excellent-Very Good, 1 ; Excellent-Good, 1 ; Very Good-
Good, 1 ; Good-Fair, 3; Fair, 10; Fair-Poor, 11 ; Poor, 1.
Entered as second-class matter January 4, 1921, at the post office at New York, New York, under the act of March 3, 1879.
Harrison's Reports
Yearly Subscription Rates: 1270 SIXTH AVENUE Published Weekly by
United States f 15.00 R,^™ ISIO Harrison's Reports, Inc.,
U. S. Insular Possessions. 16.50 Rwmio" Publisher
Canada 16.50 New York, N. Y. P. S. HARRISON, Editor
Mexico, Cuba, Spain 16.50 , „ _. . _ . _ .
Great Britain 15.75 A Motion Picture Reviewing Service ....... ,
Australia, New Zealand, Devoted Chiefly to the Interests of the Exhibitors Established July 1, 1919
India, Europe, Asia .... 17.50
4E« n r„nv Its Editorial Policy: No Problem Too Big for Its Edkorial Circle 7-4622
1 * Columns, if It is to Benefit the Exhibitor.
A REVIEWING SERVICE FREE FROM THE INFLUENCE OF FILM ADVERTISING
Vol. XXI SATURDAY, MAY 6, 1939 No. 18
THE GRIFFITH CIRCUIT PROSECUTION
Under date of April 28, the Washington office of Allied
States Association issued the following statement on the
Government's action against the Griffith Circuit, of Okla-
homa :
L Answers Big Eight Propaganda. The suit filed by the
Department of Justice in the Federal Court in Oklahoma
today against the four corporations comprising the so-
called Griffith Circuit and the Big Eight producer-distribu-
tors, charging combination in restraint of trade, is second
in importance only to the omnibus proceeding against the
Big Eight filed in New York last July.
It furnishes an effective answer to the propaganda being
fed the exhibitors by the Big Eight and its thinly disguised
agents to the effect that theatre divorcement and enactment
of the Neely Bill will expose independent exhibitors to the
ruthless competition of allegedly independent chains such
as Griffith, Schine, Blank, Brandt, etc.
That answer is : Monopolistic practices will not be toler-
ated by the United States Government whether practiced
by the Big Eight, so-called independent chains, cooperative
buying combines, or other interests. There are many who
should note well this attitude on the part of the Govern-
ment.
2. "The Right to Buy." During the negotiations preced-
ing the Rosenblatt-imposed Code in 1933, Allied States
Association advocated, as a logical means of neutralizing
chain buying power, that films be sold on the basis of local
competition in each competitive situation. This was called
"the right to buy." Needless to say, it was assailed by the
Big Eight, pooh-poohed by the pseudo-independent exhibi-
tors and ignored by Rosenblatt.
The Department of Justice after extended research and
study has concluded that the policy advanced by Allied
six years ago is best calculated to destroy monopoly and
restore competitive conditions in the motion picture busi-
ness. Paragraph (4) of the prayer of the complaint asks:
"(4) That the defendant distributors herein, and each
and all of their respective officers and directors and each
and all of their respective servants, agents and employees,
and all persons acting or claiming to act on behalf of said
defendants or any of them, be perpetually enjoined and
restrained from licensing feature pictures for exhibition on
any run at any theatre in any of the Griffith Towns, except
upon a local competitive basis whereby all theatres operat-
ing in each of said towns will have an equal opportunity to
license pictures for that area without regard to whether
these theatres or any of them form or constitute a part of
a circuit of theatres."
3. Dissolution Also Asked. In addition to affording inde-
pendent exhibitors competing with Griffith "the right to
buy," the Government asks that the backbone of the Grif-
fith monopoly be broken by dissolution of the four corpora-
tions comprising the Griffith Circuit and the re-arrange-
ment of their properties so as to restore competition. The
complaint further asks —
"(5) That the defendant exhibitors and each of them be
dissolved and that their respective properties be arranged
under several separate and independent corporations in
such a manner as to terminate effectively the aforesaid
monopolistic control in the licensing and exhibition of mo-
tion pictures and prevent further violations of the Sherman
Anti-Trust Act, and that said exhibitor defendants, their
officers, directors, agents and representatives be required to
make such divestiture and conveyances of their stockhold-
ings and properties as shall be necessary in order to ac-
complish such dissolution.
"(6) That the Court appoint such receivers and trustees
as may be necessary and appropriate to effectuate a disso-
lution of the said exhibitor defendants and each of them
and of the aforesaid monopoly in the licensing and exhibi-
tion of motion pictures."
4. Continuing Supervision. To insure that the combina-
tion, once broken, is not re-established, the Government
asks that the court retain jurisdiction to pass on future
acquisitions of theatres by the Griffith Circuit.
" ( 7 ) That the defendant exhibitors and each of them be
enjoined and restrained from acquiring any additional thea-
tres or financial interests therein, except where they shall
establish to the satisfaction of this Court that such acquisi-
tions will not unreasonably restrain competition or create
or tend to create a monopoly in the licensing of feature pic-
tures for first-run or second-run exhibition or in the opera-
tion of first-run or second-run theatres in any of the towns
in which they operate theatres."
5. Exclusive Privileges. The complaint, while much
shorter, contains many allegations reminiscent of those
included in the New York suit. The Big Eight apparently
accord the so-called independent chains the same privileges
and advantages over smaller independent rivals that they
give the affiliated theatres over such rivals. (Query: Are
the independent chains able to command these special favors
because of their massed buying power or have the Big Eight
built them up by special privileges with the idea of eventu-
ally taking them over ? )
Among the exclusive privileges enjoyed by the Griffith
Circuit, according to the complaint, were the
"(a) . . . selecting from the feature pictures released
. . . such feature pictures as said exhibitors (Griffith)
deemed suitable for exhibition in said towns, as and when
prints thereof became available, before said pictures were
released to any other exhibitors in said towns.
"(b) . . . receiving clearance on said feature pictures
over competing theatres in said towns."
The Government charges that the foregoing exclusive
privileges have enabled the Griffith Circuit to unreasonably
restrain, suppress and entirely eliminate the competition
offered by the theatre operators in said towns in the licens-
ing and exhibition of theatres by —
(a) Preventing them from obtaining enough firstclass
pictures for exhibition on any run to operate their theatres
successfully.
(b) Forcing them to maintain admission prices higher
than those warranted by the quality of the entertainment
they were able to offer ; that is, feature pictures previously
exhibited or rejected by the defendant exhibitors.
(c) Preventing them from showing any feature pictures
released by the defendant distributors with first-run clear-
ance in any of said towns.
(d) Preventing them from exhibiting any feature pic-
tures released by the defendant distributors with second-
run clearance in any of said towns where any of the de-
fendant exhibitors operate one or more second-run theatres."
6. More Suits to Come? Recently the Department of
Justice intimated that it was contemplating ten more anti-
trust cases dealing with motion pictures. This would mean
there arc nine cases yet to come. At least that many will
be necessary to reach all local monopolies and abuses of
power not included in the main proceeding now pending
in New York.
Many observers are convinced that the job will not Ik*
completed until there lias been a thorough airing of the
manifold activities of the Hays Association. Chief |Miints of
interest are efforts of that association to control public
and exhibitor opinion by widespread propaganda, and its
lobbying activities. Astonishment has been expressed at
the testimony of Carl Millikeu at the Neely Bill hearings
(Continued on last page)
70
HARRISON'S REPORTS
May 6, 1939
"Union Pacific"
(Paramount, May 5 ; running time, 135 min.)
An outstanding epic of the development of the great west.
It is so well produced that, despite its length, it holds one's
interest undiminished to the very end. What makes this
picture different, and better, from other pictures of this
kind that have been produced in the past is the fact that
the action is logical, particularly in the critical situations.
One of such situations is where the hero is shown clashing
with a bully : the hero had learned that a bully had in-
timidated the workers into stopping work. He reaches the
place and finds him breaking up the wheelbarrows and the
shovels, and brandishing an ax, threatening to wield it on any
worker who would even touch a shovel, let alone do any
work. The hero approaches him in a mild manner ; he then
takes a shovel, and digs a bit of ground with it. When the
bully was about to bring the ax down on him, he throws
the dirt in the bully's eyes, incapacitating him. From that
point on, lie had the bully on the "run." That naturally
breaks the spell he had on the workers. This situation
should cause the spectators to roar with laughter, in ap-
proval with what the hero had done.
Another thrilling episode is that which shows the Sioux
Indians chopping down the posts that held the water tank,
and wrecking the train, killing every one of the occupants
except McCrea, Stanwyck and Preston. The attack of the
Indians on the train is realistic in the extreme.
The picture is just full of such tense episodes.
The story deals with the efforts of those who believed
in the development of the west and who felt that this could
be accomplished by building the Union Pacific Railroad, for
only thus could the west and the east be brought together.
Put a money man (Henry Kolkcr), seeing an opjwrtunity
to profit by their failure, engages a ruffian (Brian Donlevy)
to put obstacles in the way of their progress. Donlevy fol-
lows the end of the line with gambling paraphernalia,
liquor and girls, until the promoters of the railroad engage
the hero (Joel McCrea) to drive them out, and thus make
it possible for them to complete the railroad on time to
get the right for the extension to San Francisco. After
efforts that put his life and the lives of his pals (Akim
Tamiroff and Lynn Overman ) in danger. McCrea succeeds
in driving out the villain, bringing about the railroad's
completion. He also wins as a wife Barbara Stanwyck,
who was the nostmistress of the railroad at the end of
the track, moving her postoffice as the track moved ahead.
Cecil B. DcMille produced and directed it, from an
adaptation by Jack Cunningham, of a story by Ernest
Haycox. The screen play was written by Walter DeLeon,
C. Gardner Sullivan and Jesse Lasky, Jr.
Class A.
"Romance of the Redwoods" with Charles
Bickford, Jean Parker. Gordon Oliver
and Pat O'Malley
(Columbia, March 24; time. 67 min.)
Fair lumber mill melodrama, with a forest fire as the
outstanding feature. The theme is that of two men loving
one woman, but it is not very exciting or novel. There is
a little human interest, and the love affair between the
heroine and the one of the two heroes she loves is fairly
interesting. The tempo is fairly fast.
Charles Bickford, logger in a lumber mill, is secretly in
love with Jean Parker, whom he had reared ever since her
father had died. Gordon Oliver comes to the camp seek-
ing a job. The boss would not hire him because he doubted
whether he would do, but Bickford prevails on him to
change his mind. Bickford takes Oliver under his protec-
tion. Oliver saves Bickford's life when the clamp holding
the log on the saw table became disengaged, and Bickford
is grateful. But Bickford's heart breaks when he learns
that Oliver loved Jean and was loved by her. The same
accident that happened to Bickford happens to Oliver, but
Bickford was too far away to take any action to save his
life. Bickford is accused of having deliberately murdered
Oliver, jealousy being given as the motive. He is tried but
is acquitted. All the lumber camp workers, however, be-
lieve him to be guiltv and shun him. Bickford, unable to
bear the isolation, decides to leave. A forest fire breaks out
and the lives of the very men who were against him are
endangered. He is asked to save them, because only he
knew of the forest trails. At first he refuses, but soon he
changes his mind and goes to their rescue. After being
rescued, the loggers change their minds about Bickford. He
and Jean at last find happiness in marriage.
The plot has been founded on the Jack London story.
Michael Simmons wrote the screen play, and Charles Vidor
directed it. In the cast are Alan Bridge, Ann Shoemaker,
Lloyd Huges and others.
Suitability, Class A.
"The Lady's From Kentucky" with
George Raft, Ellen Drew
and Hugh Herbert
(Paramount , April 28; /i;;ic, 76 min.)
A fair drama. The action centers around the breeding of
horses and horse racing, and is, therefore, limited in its
appeal. The plot is pretty thin; before the picture is half
finished, the spectator, knowing how it will end, loses in-
terest in the outcome. With the exception of two exciting
races, the action is slow, dealing for the most part with the
breeding of horses and the ethics of racing. The perform-
ances are adequate enough, considering the fact that the
players were up against trite material. Hugh Herbert and
Zasu Pitts supply the lighter mood and do it well. The
romance 1 is pleasant : —
George Rait, a bookmaker, who had risen to prosperity
only to lose everything in one race, is consoled by bis
friend (Hugh Herbert), who worked with him. While go-
ing through his papers, Raft discovers an assignment giving
him half ownership in a race horse that was being raised
on a Kentucky farm owned by Ellen Drew. She is shocked
when she learns the truth, but tries to make the best of
things. Raft's attitude towards racing sickens her, for he
was concerned only with what he could make out of it.
Against her orders, he race-, the horse. Although the horse
wins, the effort was too much for him, for he was young ;
for a time it seems that he would die. Raft is sorry for
what he had done, but Miss Drew refuses to talk to him.
With good care, the horse recovers and is trained further
by Miss Drew. On the day of the big race, Miss Drew is
informed that she would have to scratch her horse because
of Raft's reputation. But Raft delivers to the Racing Com-
missioner a release of his share to Miss Drew. The horse
is allowed to run; despite an injury, he comes through the
winner. The injury meant, however, that his racing days
were over. Miss Drew, sorry for having mistrusted Rait,
begs his forgiveness; they are reconciled, and look forward
to marriage.
Rowland Brown wrote the story, and Malcolm S. Boy-
land, the screen play; Alexander Hal! directed it, and Jeff
Lazarus produced it. In the cast are Louise Beavers, Lew
Payton, Forrester Harvey, Edward J. Pawley, and others.
Suitability, Class A.
"Calling Dr. Kildare" with Lew Ayres,
Lionel Barrymore, Laraine Day
and Laria Turner
(MGM, April 28; time. 86 min,)
Very good. It is one of those pictures that should please
almost every one who sees it, for there is comedy in almost
every foot of the film ; there is also human interest, and the
spectator is held in pretty tense suspense. The comedy is
caused by the talk and acts of Mr. Barrymore ; it is the
kind that should appeal to class audiences as well as to the
masses. The way Mr. Barrymore handles the situation in
his desire to save Lew Ayres, the hero, from serious con-
sequences and to help him become a real doctor gives one
great pleasure. The only discordant note is the fact that
the young doctor is not punished for having violated the
ethics of his profession by having failed to report that he
had treated a young man with a bullet in his chest. But
the other doings are so pleasurable that the spectator will,
no doubt, fail to take this infraction into much account: —
As in the previous "Kildare" picture, Mr. Ayres is a
young doctor, bent upon learning his profession well, and
Mr. Lionel Barrymore. the ingenious diagnostician. Mr.
Barr\more, crippled but still "alive," treats young Ayres
with, what appeared to be. unjustified harshness. But Ayres
never wavers in his belief that Barrymore is a great doctor.
Barrymore, to give Ayres a chance to get "down to earth,"
dis.-harges him as his assistant in the hospital and has him
transferred to a field clinic ; at the same time, he assigns
a trusted nurse (Laraine Day) to report his doings. Ayres
is called out on an emergency case but finds that the case
was that of a young man with a bullet in his chest. The
wounded boy's sister comes to the basement where the
patient was kept and convinces Ayres that her brother had
not murdered the man the newspapers had written about.
Convinced of the young man's innocence, Ayres fails to
report the case. This eventually gets him into great trouble,
from which only the ingenuity of Barrymore is able to
extricate him. In the end, Ayres proves that the young man
whom he had treated was innocent, and brings about the
murderer's arrest.
Max Brand wrote the story, and Harry Ruskin and
Willis Goldbeck, the screen play: Harold S. Bucquet
directed it. In the cast are Nat Pendleton, Samuel S. Hinds,
Lynne Carver and Emma Dunn.
Suitability, as well as quality, Class A. Tempo, pretty fast.
May 6, 1939
HARRISON'S REPORTS
71
"Street of Missing Men" with Charles
Bickf ord, Harry Carey, Guinn Williams
and Tommy Ryan
(Republic, April 28; time 65 win.)
A pretty strong racketeer story, in which it is shown
that the chief character, a racketeer, becomes regenerated
in the end. There is plentiful action, and no little human
interest. The attachment of the racketeer to a little news-
boy, whom he takes into his own home and gives proper
care, is appealing. Charles Bickford is realistic as the
racketeer. Mr. Carey, too, gives a fine performance as the
newspaper publisher who is bent upon ridding the city of
graft. Tommy Ryan, as the little boy, also is appealing.
The one bad feature is the fact that the chief character
( Bickford) double-crosses his boss, the newspaper owner,
almost up to the close of the story. But it is by no means a
cheaply-produced picture : —
Charles Bickford, a racketeer, who had been sent to
Alcatraz by Harry Carey, newspaper publisher, comes out
bent upon killing Carey. Near the newspaper building,
Bickford sees rival gangsters destroying the news stand of
little Tommy Ryan and, beating up the gangsters, he res-
cues Tommy. They become pals. Bickford calls on Carey
but finds him surprisingly cool and composed. Feeling that,
to kill him at once would not only be insufficient punish-
ment, but would also send him to the electric chair, Bick-
ford invites Carey to a night club for his last meal. There,
a rival gangster, who had learned of Bickford's interference
in the attack on the news stand, threatens Bickford's life
if he should not keep away from Carey. Incensed, Bickford
accepts Carey's proposal to take charge of the paper's de-
livery. He felt that in this manner he could put the paper
out of business. He enters into an agreement with the rival
gangsters for the destruction of the paper, and plants a
time bomb in the press room. But as he was putting off
"action," the head of the rival gang sends his henchmen
to set fire to the building. In the meantime, Carey informs
Bickford that he could have sent him back to jail be-
cause of some evidence he had. Realizing that Carey was
"straight," Bickford rushes to the newspaper building just
as Tommy, who had discovered the gangsters at work, is
shot. He saves Tommy's life ; then he rescues Carey, who
had entered the burning building to get some valuable rec-
ords. In returning for the bomb, Bickford loses his life.
Eleanor Griffin and William Rankin wrote the story;
and Frank Dolan and Leonard Lee, the screen play ; Sidney
Salkow directed it, and Armand Schaefer produced it. In
the cast are Mabel Todd, Nan Bryant, Ralph Graves, Regis
Toomey, and others. Suitability, Class B.
"Sweepstakes Winner" with Marie Wilson,
Johnnie Davis and Allen Jenkins
(First Natl., April 29; time 59 min.)
A mildly amusing program comedy, centering around
the racetrack. There's not much to the story or to the plot
development for recommendation. It may do, however, as
the second half of a program where a strong first feature
is used. The actions of two of the characters, although
treated from a comedy angle, are annoying and even de-
moralizing, for everything they do is motivated by a desire
to make "easy" money at the expense of some one else.
Particularly annoying is the fact that they are constantly
double-crossing the heroine, a timid soul, who places her
trust in them. Newsreel shots of races have been worked
into the plot in an effective manner. The romance is just
hinted at: —
Allen Jenkins and Charles Foy, two cheap race track
followers, lose all their money on bad bets. When Marie
Wilson, a small-town girl who had inherited $1,000, arrives
with a letter of introduction to them, and requests them
to help her buy a certain horse that had once belonged to
her grandfather, they suggest that she first build up her
fortune by allowing them to bet her money on races. They
lose all the money, compelling Miss Wilson to go to work
as a waitress in a cafe owned by Johnny Davis. They work
on her sympathies, inducing her to buy a sweepstakes tic-
ket. She wins first prize of $15(1. (MM). Jenkins and Foy are
again ready to do her out of her money. They buy for her
the horse she wanted, but instead of paving only $500. as
the owner requested, thev nay him $15,000, on the under-
standing that they would share the profits with him. Miss
Wilson trains the horse for racing, and it makes a phenom-
enal romeback, B"t Tenkins and Foy trick Miss Wilson
again by entering the horse in a claim race, thereby forcing
her to Spend her last $10,000 to buy the horse back. On the
day of a bin race that meant everything to Miss Wilson,
Jenkins and Foy again try to double-cross her, because
another race horse owner had offered them money to Stop
Miss Wilson's horse. But Miss Wilson's horse wins, despite
their efforts to stop it. Davis, who had fallen in love with
Miss Wilson, and knew what Jenkins and Foy were up to,
finally asserts himself and punches them. This brings joy
to Miss Wilson, who returned Davis' love.
Albert DeMond and LIugh Cummings wrote the story,
and John Kraft and Albert DeMond, the screen play ;
William McGann directed it, and Bryan Foy produced it.
In the cast are Jerry Colonna, Sidney Bracy, and others.
The conniving and double-crossing make it unsuitable
for children. Class B.
"Lucky Night" with Myrna Loy
and Robert Taylor
(MGM, May 5; time, 82 mm.)
A fair domestic comedy. The story is light-weight. As
a matter of fact, any twenty-five dollar a week stenographer
could have written a better story ; the wonder is that a
fine organization such as MGM is should have approved
such a "weakling" for production. As to conveying a moral,
one may say that it teaches that winning at gambling is
easy, and that all a person has to do is wish for things and
they come. There is also considerable drinking : —
Myrna Loy breaks her engagement for the fourth time
because she did not particularly care for her fiance ; she
then informs her wealthy father (Henry O'Neil), a steel
magnate, of her intention to get a job and to be self-sup-
porting. He lets her have her own way. On a park bench
she meets Robert Taylor and they soon become well ac-
quainted. Borrowing fifty cents from a policeman they go
to a restaurant, but after dinner they discover that they
had lost the money. Miss Loy "lifts" a dime tip from the
counter and with it wins the jackpot on the slot machine,
enabling them to pay the bill. Later they win a car in a
raffle. They spend the rest of the night gambling and win-
ning, and they celebrate by getting drunk. The following
morning, they awake and learn, from the papers, that they
had been married. Taylor decides to make their marriage
a success ; thereupon, he obtains a job as a paint salesman
at $35 a week, even though he knew nothing about paints.
They are happy in a comfortable apartment until Taylor
gets a $10 raise ; then the discord comes, for he wanted to
celebrate and she objected, for she had become budget-
conscious. Feeling defeated, Taylor quits his job and in-
duces her to celebrate with him. for he felt that defeat as
well as victory should be celebrated. But they are unable
to recapture their former gay spirit, and Miss Loy returns
to her father, believing her marriage to be a failure. No
sooner does she reach home than she regrets her step and
goes in search of her husband. In the meantime, Taylor,
taking with him some curtains she had made and a small
tree, (he actually carries it along with him and boards a
Fifth Avenue bus) goes to see her father, to tell him his
woes. Her father agrees that there is, after all, something
in his viewpoint. Thereupon the two begin to drink cham-
pagne until they become thoroughly "soused." Miss Loy
returns from her unsuccessful search to find Taylor in her
own bed. Everything is then patched up.
Oliver Claxton wrote the story, and Vincent Lawrence
and Grover Jones, the screen play; Norman Taurog di-
rected it, and Lewis D. Lighton produced it. In the cast
are Joseph Allen, Douglas Fowlcy, Bernard Nezzell and
others.
Suitability, Class A for adults. Class B for children, as
well as for adolescents. Tempo, slow.
"Confessions of a Nazi Spy" with
Edward G. Robinson
(First Nat'l., May 6; running time, 106 win.)
An excellent production, and had the facts of the Nazi
Spy investigation not become known to the American public
cither through the trial, which took place in the Federal
Court, in New York, or through Mr. Turrou's articles,
which appeared in many papers throughout the country,
there is no doubt as to how it would have performed at the
box office. Yet the great publicity given to the picture may
offset this drawback. There is realism in the action, as a
result of excellent direction and artistic acting: the spec-
tator is made to feel as if he is present at the original
happenings.
Warner Bros, deserve great credit for having had the
courage to put Mr. Turrou's writings into a picture, and in
view of the danuer to the lives of those who oppose Nazism,
similar credit should p.o to the players who have imperson-
ated the different spies.
The scri - n play arrangement was made bv Milton Krim*
and John Wexley, under the technical advice of Mr. Tur-
rou himself. Anatole I.itvak directed it. Paul Lukas and
Francis l.edcrcr take prominent parts.
Class A.
72
HARRISON'S REPORTS
May 6, 1939
concerning the elaborate plans for carrying the association's
propaganda into the churches, the schools and the homes.
It is possible that a movement for a thoroughgoing investi-
gation of the Motion Pictures Producers & Distributors of
America will be launched next Fall.
7. The Need for Vision. Allied has been hoping that
those in ultimate authority in the Big Eight would see the
need of voluntarily abandoning the monopolistic practices
which are the targets of so many suits by the Government
and by injured exhibitors and which are under the fire of
so many religious, educational and welfare organizations.
Thus far the sales executives have offered merely an agree-
ment among seven of the Big Eight to perpetuate those
practices in only slightly modified dangers inherent in this
procedure, from two points of view. First, unless the de-
mands of the Government and the public are measurably
complied with, assaults from those quarters will continue.
Second, an agreement to perpetuate oppressive trade prac-
tices may suffer from the same legal infirmity as an agree-
ment to initiate such practices.
8. Allied Will Decide at Minneapolis. This bulletin
should be regarded merely as a plea for a broader vision
and a more defining policy by the Big Fight. It should not
be construed as defining the attitude of Allied towards the
trade practice proposals thus far submitted. The policy of
Allied in that respect will be determined at the forthcoming
convention in Minneapolis on June 13, 14 and IS. It is
hoped that the exhibitors will then have a more liberal, at
least a complete, program to consider.
ABOUT THAT LIST OF THEATRES
THAT HAVE CLOSED BECAUSE
OF BLOCK BOOKING
Sandwiched between other statements in the April 22
editorial in Harrison's Reports was one statement that
needs greater emphasis ; it is about the assertion made be-
fore the Senate subcommittee that few theatres closed, even
during the depression, as a result of block-booking. In
reply, I said the following :
"But it is not fair for them to ask for a list of the thea-
tres that have gone out of business as a result of the block-
booking system ; what they should have asked for is a list
of the theatres that have been sold and resold innumerable
times, for once a theatre is built it is hardly ever kept
closed : when the owner of it finds it impossible to conduct
it profitably he sells it to some other ambitious person. And
the next proprietor does the same thing when he, too, finds
out that he cannot make it go, and so on. It is this sort of
information that would have enlightened the Committee."
A list of this kind should include such theatres as have
been sold to circuits, whether affiliated or unaffiliated, or
to persons working in distributor exchanges, for such per-
sons, by virtue of their position, are able to withhold from
the exhibitors choice films, thus compelling them to sell
out. With block-booking eliminated, such persons would be
rendered helpless.
Allied States Association should compile such a list at
once.
A CHALLENGE
During the hearings on the Neely Bill before the Sub-
Committee of the Senate Committee on Interstate Com-
merce, there were made about the Bill many statements,
the intent of which was to convince the members of the
committee that the independent exhibitors did not approve
of this Bill, and that they preferred the adoption of the
Trade Practices Code, final draft of which was given out
three days before the hearings began.
Allied asserted, of course, that, with the exception of the
producers themselves and of their affiliates, in addition to
some exhibitor leaders whom they seemed to influence, no
independent exhibitor was in favor of these reforms as they
now stand.
In a statement issued by Col. H. A. Cole, president of
Allied States Association, the producers are challenged
to prove to the independent theatre owners that they are
correct in their assertions; they are asked to send represen-
tatives to the Allied Convention in Minneapolis, at which
time they will have an opportunity to express their views.
Mr. Cole states that every exhibitor leader, regardless of
his affiliations, has been invited to attend the convention
and to bring along as many members of his association as
he can.
Says Mr. Cole partly: "One entire session will be set
a^ide to discuss, pro and con, the merits or demerits of the
proposed Trade Practice Reforms. Members of the Ne-
gotiating Committees, both producer and exhibitor, will be
invited to participate in these discussions. Producers will
be given an opportunity to enlighten all exhibitors present
and the world in general as to why they think the Trade
Practice Proposals should be accepted. Others who do not
like the Proposals in their present form will be given ample
opportunity to arjjue the matter. After the whole thing has
been thoroughly aired by both sides, a vote will be taken
by all those present who can qualify as independent theatre
owners, and what we mean by independent is one who has
no circuit affiliations."
Mr. Cole assures every one in the industry that this vote
will nut be the result of steamroller tactics, hut the free
expression of free men. It is in this manner, he feels, that
the exhibitors' attitude towards the trade practices code,
as now framed, will be ascertained.
Harrison's Reports believes that Mr. Cole's offer is so
fair that it should be accepted by all — that is, if there is a
desire of the opponents of the Neely Bill to ascertain exhi-
bitor sentiment, ami not merely to argue against it, regard-
less of its merits.
ABRAM MYERS' BRIEF TO THE SENATE
COMMITTEE ON THE NEELY BILL
The brief Mr. Abram F. Myers has submitted about the
Neely BUI to the Sub-Committee of the Senate Committee
on Interstate Commerce is really a statesman's document.
So enlightening, thorough and inclusive is it. It is my be-
lief that, if this document were to be read by the head of
every fraternal, religious or civic organization in the United
States, you should receive so much support from them that
you should have little trouble in seeing the Neely Bill be-
come a law.
Mr. Myers tears down the arguments of the opposition,
not by exaggerated statements, such as the opposition has
made during the hearings, but by facts, figures and logic.
Because of recent figures of salaries printed in the news-
papers, he was able to prove to the committee that the pro-
ducers are not poverty-stricken, needing help. He assured
them that the 20% cancellation privilege is no privilege at
all, that the ability of the exhibitor to contract for an out-
standing attraction for which there is a public demand is
not bettered, that the exhibitor obtains no relief from the
preferred playing time evil, and discussed other of the pro-
ducer concessions, proving to the Committee that the pas-
sage of the hill is necessary.
The Myers brief will be discussed more extensively in
future issues of Harrison's Reports.
A GRACIOUS ACT ON THE PART OF
NEIL AGNEW OF PARAMOUNT
The Paramount sales convention was originallv set for
June 12, 13 and 14.
Because these dates would, however, conflict with the
dates of the Allied convention, which will be held at the
Nicollet Hotel, in Minneapolis, on June 13, 14 and 15, Mr.
W. A. Steffes requested Mr. Agnew to change his dates, if
possible, so as to enable Paramount officials to attend the
convention.
A telegram that was received from Mr. Steffes last week
announced that Mr. Agnew has complied with his request
and has set the dates of the Paramount convention for the
8th. 9th and 10th of the same month.
The act of Mr. Agnew in changing the dates is gracious
and members of the Allied organization will, I am sure, be
thankful to him. Allied intends to make this convention a
gathering of good will and the affair would not be complete
without the presence of Mr. Agnew and of other Para-
mount officials.
A SENSIBLE DECISION BY THE
FILM COMPANIES
According to weekly Variety, the producers have decided
this season to charge to the exhibitors "live and let live"
film rentals, "with more give than take by the seller ap-
pearing to suggest the trend."
This news is so good that Harrison's Reports hastens to
impart it to you and to congratulate V ariety for the alert-
ness of its reportorial force in broadcasting this information.
Up to this season, the policy of the producers has been
to get more than they charged the previous season. They
did not stop to think whether the exhibitor could pay more
or not, or whether the saturation point had or had i.ot been
reached ; the home-office orders were "get more I" You may
imagine, then, how good is this news.
Harrison's Reports feels sure that the exhibitors will
take advantage of this new trend to obtain their next sea-
son's pictures at prices that will enable them to make a
living.
Entered as second-class matter January 4, 1951, at the post office at N«w York, New York, under the acjt of March t, 1179.
»s
Yearly Subscription Rates: 1270 SIXTH AVENUE Published We*Wy by
United States $15.00 p 1 ftl O Harrison's Reports, Inc.,
U. S. Insular Possessions. 16.50 Room Ifil^ Publisher
Canada 16 50 New York, N. Y. p. s. Harrison, Editor
Mexico, Cuba, Spain 16.50 . _ , . „
Great Britain 15 75 A Motion Picture Reviewing Service
Australia, New Zealand, Devoted Chiefly to the Interests of the Exhibitors Established July 1, 1B19
India, Europe, Asia 17.50
35c a Cody Its Eaitorial Policy: No Problem Too Big for Its Editorial Circle 7-4622
Columns, if It is to Benefit the Exhibitor.
A REVIEWING SERVICE FREE FROM THE INFLUENCE OF FILM ADVERTISING
Vol. XXI SATURDAY, MAY 13, 1939 No. 19
THE DISTRIBUTORS' SENSIBLE
DECISION ON GOING EASY
NEXT SEASON PRAISED
In last week's issue I informed you of a news
item in Variety to the effect that the distributors
have decided to go easy on the exhibitors during
the 1939-40 season by charging them for film a
price that will enable them to make a living. Now
comes W. A. Steffes, the Allied leader, and sheds
additional light on the subject. He writes to this
office as follows :
"Dear Pete:
"I was agreeably surprised in contacting many
theatre owners while attending the Variety Club's
National Convention in Detroit to learn from them
that the film companies have finally awakened and
realized that business is 25% to 30% off, and in
some spots even more.
"Of course, the big thing and the one that has
impressed me most was that, in their realization of
this, they are now actually offering film to exhibi-
tors for less than the exhibitor paid for product
last year. This, in my opinion, is a very gracious
move on the part of the film companies and they
should be complimented, for had they come out
with their policies as they have heretofore, insisting
on more money regardless, I am afraid that there
would have been a lot of theatre owners through-
out the United States who would have either had to
close up or been forced to see their bankers.
"I haven't had an opportunity yet to ascertain
from the theatre owners in this territory whether
or not the same thing holds true, but I imagine it
does, because I talked to theatre owners from prac-
tically every state in the Union while in Detroit.
"The coming season does not look any too rosy
but if the film companies will continue this live-and-
let-live policy it might put a different aspect on
business as far as the theatre owner is concerned.
"I am passing this information along so that you
may tell the exhibitors through your Harrison's
Reports that the film companies deserve a pat on
the back this time. We have been giving them the
devil all along and I feel that they are entitled to a
praise whenever they do anything that is praise-
worthy."
While the general policy of the 1939-40 season
seems to have been established at the home offices
on the live-and-let-live basis, exhibitors may find
here and there a distributor representative who will
insist upon doing business in the old way. I am sure
that the exhibitor who will find himself in such a
situation will be able to overcome the stubbornness
of such representative, by telling him that an open
theatre brings to the distributors greater profits
than a closed theatre.
THE ALLIED NATIONAL CONVENTION
IN MINNEAPOLIS WILL BE AN EVENT
Early information indicates that the Allied con-
vention in Minneapolis, which will be held, as every
one of you knows, at the Nicollet Hotel, in Minne-
apolis, Tuesday, Wednesday and Thursday, June
13, 14 and 15, will be the biggest convention, and
the most important, that has ever been held in the
history of the organized exhibitor.
The number of exhibitors that will attend will,
of course, be more numerous than at any other
national convention, for Allied has thrown the bars
down and has invited exhibitors of all affiliations.
There will be exhibitor leaders and members of
MPTOA, and of local units that have no affiliation
either with Allied or MPTOA.
But the most interesting information is to the
effect that there will be present distributor repre-
sentatives from every film company. Bill Rodgers.
of MGM ; Neil Agnew, of Paramount ; Jack Schlai-
f er, of United Artists ; Bill Scully, of Universal ;
A. Montague, of Columbia; Eddie Golden, of
Monogram ; James R. Grainger, of Republic, are a
few of those who have already expressed their in-
tention to attend.
There will be, of course, representatives from
the other companies, and additional ones from the
companies that have already accepted the invitation.
Paramount has invited the trade papers to attend
its convention in Hollywood, June 8. 9, and 10, and
a delegation of Paramount executives will take the
trade press representatives from Hollywood to
Minneapolis.
The accessory business, too, will have its repre-
sentatives. George Dembow, and no doubt Herman
Robbins, of National Screen Service, will be there.
And so will Ed. Auger, of RCA Photophone.
The names of others will be given as they are
received.
The Convention will not be all work ; there will
be also play, for the men as well as for their wives,
daughters, relatives and friends. And no one can
surpass Al Steffes in entertaining guests ; he knows
how to give a party.
If you miss this convention you will miss, not a
convention, but an event.
Write or wire to \V. A. Steffes, in care of World
Theatre Bldg., for reservations. And you had better
do so at once, if you don't want to sleep on a cot in
the corridor of some hotel.
74 HARRISON'S REPORTS May 13, 1939
"Rose of Washington Square" with Alice
Faye, Tyrone Power and Al Jolson
{20th tcntury-i;ox, May 5 ; time, 85 min.)
Very good entertainment. It is a human-interest drama
with good musical interludes. With the exception of one
number^ all the songs are old, made famous in musical
snows many years ago by such cute: tamers as Al Jolson
himself and fanny brice. i hey still sound good, because
ot the way Jolson and M iss i'aye swig them. Tyrone Power's
fans may be somewhat displeased at the unpleasantness of
the part he portrays — that of an unscrupulous small-time
gambler, whose misdeeds finally land him in prison. What
makes the picture stirring, however, is the nobility dis-
played by Miss Faye, who sticks by Power, even though she
knew his weaknesses. The situation in which she sings
from the stage the famous song "My Man, ' which specifi-
cally referred to her own problems, thereby causing Power,
who was in the audience, to repent, touches one's heart : —
Jolson, a s.nging waiter, has hopes of breaking into big
time vaudeville with Miss Faye as his partner. Disgusted
at the way ih.ngs v\ere breaking for her, Miss Faye decides
to go to the country for a rest. During her absence, Jolson
gets his chance at an amateur show where Broadway pro-
ducers were attending. He makes so good an impression
that they sign him to appear as star in a Broadway musical
show. In the meantime, Miss Faye had met and fallen in
love with Power, a petty gambler and "cbiselcr." At a
party given by Jolson on the opening night of his show,
Miss have is induced to sing. She impresses Jolson's agent.
Power, in need of money because of a debt to another
gambler, pretends to be Miss Faye's agent, thereby receiv-
ing a $2,500 advance for her services. Jolson tries to in-
duce Miss Faye to give Power up, but although she knew
all about him, she refuses; eventually she marries him. In
time, she becomes a famous star. Again Power is in trouble :
having sold valuable furniture belonging to a friend who
was on a vacation, he is threatened with arrest; he is
thus compelled to join forces with a gang of bond crooks
in order to ob'ta:n money. He is caught and arrested ; Jolson
posts $50,000 bail for him. But Power, afraid of prison,
runs away. He sneaks into the theatre one night, where he
hears Miss Faye sing "My Man." His conscience is so
touched that he gives himself up. Although he receives a
five year sentence, Miss Faye tearfully promises to wait for
him.
John l.arkin and Jerry Horwin wrote the story, and
Xrnnally Johnson the screen play, he also produced it.
Gregory Katoff directed it. In the cast are William Fraw-
ltry, Joyce Compton, Hobart Cavanaugh. and others.
Power's actions make it unsuitable for children. Good
adult fare. Class B. Tempo is not particularly fast.
"Torchy Runs For Mayor" with Glenda
Farrell and Barton MacLane
( Warner Bros., May 13 ; time, 59 mill.)
A fair program comedy-melodrama. It is typical of the
other pictures in this series, and should give satisfaction
where the previous ones have gone over. The story is far-
fetched ; but, since the action moves at a fast pace, it
keeps one entertained. One is held in suspense during the
closing scenes, because of the danger to the heroine, who
had become involved with a gang of crooks. There is some
comedy, and a few hints at the romance, but most of the
footage is given over to the melodramatic situations : —
Glenda Farrell, newspaper reporter, obtains evidence
from a notebook she had stolen linking the crookedness in
her town with the Mayor (Charles Richman) ; she had
Famed that he was controlled by a certain doctor (John
Milj an), from whom she had stolen the book. When her
editor refuses to print the story, fearing that it would ruin
his business, she goes to other editors, but meets with re-
buffs. She finally induces an editor (Irving Bacon) of a
small newspaper to print the story. Miljan's men go to see
Ba :on, believing he had the book; not being able to find it.
they heat him unconscious. Miljan then injects a poison
into Bacon that kills him. Miss Farrell works on the case.
As a joke, her fiance (Barton MacLane), a police in-
spector, offers Miss Farrell's name for Mayor; to his sur-
prise she accepts. Miljan kidnaps her, with the intention of
killing her. But MacLane saves her and rounds up the
gang. Miss Farrell is elected Mayor.
Irving Rubins wrote the story, and Earle Snell the screen
play ; Kay McCarey directed it, and Bryan Foy produced
it. In the cast are Tom Kennedy, Frank Shannon, Joe
Cunningham and George Guhl.
Because of the murder, unsuitable for children. Not for
Sunday showing. Tempo, fast. Class B.
"Big Town Czar" with Barton MacLane,
Tom Brown and Eve Arden
{Universal, April 2.\ ; time, 66 mill.)
A fair program gangster melodrama. Although the moral
oi the story is that crime does not pay, parts of it are de-
moralizing, as a result ot the actions ot a young man, who
ci looses a life of crime, despite the pleas ot his elders, liis
acts are so unpleasant that his death at the hands ot otiier
gangsters does not touch one. The leading character, too,
is a gangster ; an effort is made to work up sympathy for
him but the effect on the spectator is just the opposite. The
only ones with whom the spectator is in sympathy are the
parents of the two racketeers. There is a mild romantic
interest : —
Barton MacLane, big-time racketeer, is made unhappy
when, on a visit to his mother, he is ordered by her to
leave. Because of his criminal activities, she refused to have
anything to do with him. Her one hope was that her
\ounger son (Tom Brown; would continue going to col-
lege and live a decent life. After MacLane visits Brown at
the college, Brown decides to leave school to follow in his
brother's footsteps. MacLane tries to dissuade him, but
Brown insists, and so MacLane takes him under his wing.
But Brown cannot be controlled; he even outdoes his
brother in criminal activities. Eventually he is killed by the
henchmen of a rival racketeer (Jack LaRue), whom he had
double-crossed. MacLane, frightened, leaves town. But,
through a trick on the part of his former henchman (Frank
Jenks), who had led him to believe that Eve Arden, his
former sweetheart, had been kidnapped, MacLane returns.
In a gun fight with LaRue, MacLane kills him, and is
himself shot.
1 he plot was adapted from a story by Ed Sullivan ; Ed-
mund Hartmann wrote the screen play, Arthur Luhin di-
rected it, and Ken Goldsmith produced it. In the cast are
Walter Woolf King, Oscar O'Shea, Esther Dale, and
others.
Unsuitable for children and adolescents. Class B. Tempo
fairly fast.
"Blind Alley" with Chester Morris
and Ralph Bellamy
{Columbia, May 11 ; running time, 70 min.)
A powerful crook melodrama, in which psychoanalysis
takes a prominent part. Because of the fact that the lives of
decent people are endangered by a band of murderers, one
is held in tense suspense. The suspense is heightened by the
determination of one of the captives, a professor of psy-
chology, to destroy the murderer by revealing to him the
"kink" that had made him a dangerous criminal, for in
undertaking such a task he ran the risk of being cold-
bloodedly shot. Chester Morris does excellent work as. the
head of the gangsters. But it is the work of Ralph Bellamy
that makes the picture so powerful — the intelligent way by
which he goes about it and by his convincing acting ; with-
out his artistry it would be just one more gangster picture.
A killer (Chester Morris) and his band escape and, in
seeking a hide-out, they take charge of the home of a
professor (Ralph Bellamy) until their boat arrived to take
them away. By threatening to kill any one who disobeyed
them, the head killer makes them all do his bidding. The
professor, however, realizing that a man such as this killer
was too dangerous to be loose, decides to destroy him :
having learned from the killer's moll (Ann Dvorak) that
he had been hounded by the same dream (rain, and an
umbrella that wouldn't stop the rain, and iron bars that
suddenly arose before him, no matter which way he turned),
he makes the killer believe that, unless he placed himself in
his hands for a cure, he would go insane. Gradually the
killer submits. The professor questions the killer, and by
the process of deduction and elimination, he brings out the
fact that, the rain was blood, the umbrella a table, and his
inability to escape, because of the bars, was his guilt of
having betrayed to the police his own father — the father
had been shot by the police, the wounded man leaned over
a table, the blood was dripping, and the killer, then only a
boy, was underneath the table, the blood dripping on him.
With the superiority complex gone, the killer loses his grip,
and when the police surround the place he can no longer
pull the trigger of his rifle. He is shot and killed. His men
are either killed or captured.
The plot has been founded on the James Warwick stage
play. Charles Vidor directed it, and Fred Kohlmar pro-
duced it. Joan Perry, Melville Cooper, and others are in
the cast.
Unsuitable for either adolescents or children.. Not good
for Sundays. Tempo, slow, but it is offset by the vice-like
grip in which the action holds one. Class B.
May 13, 1939
HARRISON'S REPORTS
75
"Juarez" with Paul Muni, Bette Davis
and Brian Ahearn
(Warner Bros., rcl. date not yet set; 127 win.)
A magnificent production but only a mild entertainment.
The pace is rather slow and the picture lacks the exciting
situations that one expects from a production of this mag-
nitude. Nevertheless, Warner Bros, deserve great creilit
for having undertaken the picturization of such a story. The
interest is held pretty well throughout. Mr. Muni does a
fine piece of acting as Jaurez, the Indian patriot, President
of Mexico, fighting for the emancipation of his people.
Bette Davis, too, does a good piece of acting as Carlota, the
Empress. But the opportunity for the finest acting was
given to Brian Ahearn, as Maximilian, the unfortunate
Emperor of Mexico ; Mr. Ahearn wins one's admiration for
his convincing portrayal of the part.
The story deals with the intrigue of Napoleon the 3rd,
Emperor of France, to destroy Mexico's democracy and
make it a vassal state of France. With this end in view, he
makes Maximilian Hapsburg, of Austria, Mexico's Em-
peror. Maximilian had been made to believe that the over-
whelming Mexican vote for his election as Emperor was
genuine, and not the result of the French bayonets. But
Jaurez organizts the Mexicans to fight for their inde-
pendence. At a crucial moment the United States Govern-
ment instructs its Ambassador to France to tell Napoleon
that, unless he withdrew his army from Mexico, the United
States would intervene in behalf of Mexico. Frightened,
Napoleon orders his Commander in Mexico to take his
army and return to France. Maximilian, thus left alone, is
defeated and captured. After a trial, he is put to death.
Pleas to President Jaurez to spare his life proved unavail-
ing, for he felt that the future safety of Mexico necessitated
the death of Maximilian.
The plot has been founded on the novel, "The Phantom
Crown," by Bertita Harding, and on the play "Jaurez," by
Franz Werfel. John Huston, Aeneas MacKenzie and Wolf-
gang Reinhardt wrote the screen play. William Dieterle
directed it, and Henry Blanke produced it. Some of the
others in the cast are Claude Rains, as Napoleon ; John
Garfield, as Diaz, the Mexican; Donald Crisp, as the Com-
mander of the French troops in Mexico, and Joseph Calleia,
as the faithless subordinate of Jaurez.
Suitable for every member of the family. Class A.
"The Rockie Cop" with Tim Holt, Virginia
Weidler, Janet Shaw and Ace (a police dog)
(RKO, April 28; time, 60 mm:)
A pleasing little program crook melodrama, with youth-
ful Tim Holt, whom women should like, and Virginia Weid-
ler who, as usual, turns in a fine performance. There is
some human interest, considerable excitement, and a fairly
interesting romance. Most of the interest is aroused by the
intelligence of Ace, the police dog, who is able to trace
people by scent.
The story is built around the belief of the hero, a rookie
policeman, that his dog, which he had trained, was valuable
to the force in tracing criminals by scent. But the police
chief did not believe in such a "crazy" idea, until finally he
is compelled to admit that the hero was right, for by means
of this dog the hero captures a gang of criminals, and res-
cues the heroine from their hands.
Gjiy K. Austin and Earl Johnson wrote the story, and
Jo Pagano the screen play ; David Howard directed it, and
Bert Gilroy produced it. In the cast are Frank M. Thomas,
Robert Emmett Keane, Monte Montague, and others.
Suitability, Class A. Tempo, pretty fast. It should not
prove objectionable to children, in that the criminals are
punished in the end, or for Sunday showing where crook
melodramas are not objected to.
"Boys' Reformatory" with Frankie Darro
and Grant Withers
(Monogram, May 5; running time, 61 min.)
A moving little melodrama, with fast action. What gives
it its emotional quality is the young motherless hero's self-
sacrilice; he prefers to go to jail rather than make unhappy
the only mother he had ever known. And the self-sacrifice
is iikuIc believable because of the good acting by Frankie
Darro. Grant Withers, as the phvsieian at the reformatory
wins one's sympathy by his kindliness. Frank Coghlan, Jr.]
does a good piece of acting as the weakling son. whose guilt
Frankie had shouldered. Lillian Elliott is good as the
mother : —
Darro, a hard-working lad, is loyal and grateful to- Miss
Elliott, who had reared hiin. But Coghlan, Miss Elliott's
weakling son, frequents a poolroom and is induced by his
criminal associates to take, part in a robbery. They are
chased by the police and Coghlan, who was driving a car.
escapes with the loot. When he arrives home excited,
Darro, to save. Coghlan's mother from disgrace, drives the
car with the loot away with the intention of abandoning it
somewhere. But the police notice him and chase him. He i^
caught and, because he is unwilling to talk, is sent "to' the
reformatory. Withers, having taken a liking to Darro,
makes him his assistant. Darro is shocked when he sees
Coghlan brought to the reformatory. At first he is furious
at him for having broken his promises to go straight, but
when Coghlan eventually convinces him that he had been
framed by Ben Welden, the head of the crook ring who was
using boys for doing the jobs, he agrees with one of
Welden's stooges to escape, his purpose being to "get"
Welden. They escape and he is taken to the hide-out in the
city. But the stooge tells Welden that Darro was not "on
the level," and Darro's life is placed in danger. But With-
ers, whom Darro had telephoned, arrives with the police in
time to save his life and to arrest the criminals. Darro is ex-
onerated, and because of his good work Coghlan is put on
probation. Miss Elliott is happy to see her two boys back.
The story is by Ray Trampe and Norman S. Hill, the
screen play by Mr. Trampe and Wellyn Totman. Howard
Bretherton directed it, and Lindsley Parsons produced it.
David Durand, Warren Collum and Albert Hill, Jr.. are
in the cast.
Because of the good moral it conveys, it may be put in
the A Class, in spite of the fact that it deals with crooks
"It's a Wonderful World" with Claudette
Colbert and James Stewart
(MGM, May 19; time, 85 min.)
Very good! Combining comedy with romance and mur-
der mystery melodrama, the picture offers entertainment
that has mass as well as class appeal. The action is fast,
and, towards the end, becomes tensely exciting. Consider-
ing the fact that the story is lightweight, much of the credit
for the entertaining quality of the picture is due to the
engaging performances by the leading players and the com-
petent supporting cast. Some of the situations provoke
heart) laughter. One of the most comical situations is that
in which the police inspector confronts two detectives with
a newspaper picture showing them chatting with an escaped
prisoner they had been searching for ; they had not recog-
nized him. Throughout there are situations as comical :—
When James Stewart, a private detective, finds his most
important client (Ernest Truex) involved in a murder
ca.se, he decides to hide him .until he could obtain evidence
proving his innocence. Stewart feels certain that Truex'
young wife (Frances Drake) was-in sonic way mixed up in
it. But Truex is found and arrested and Stewart, too, is
arrested for having obstructed the law. Stewart, is sen-
tenced to a year in prison. While riding in the train taking
him to prison, Stewart comes upon a newspaper item that
gives him a definite clue in the case. Through a trick, -he
escapes. He steals an automobile belonging to Claudette
Colbert, a poetess, forcing her to accompany him. Thgugh
frightened at first, Miss Colbert calms down"; after hearing
Stewart's story and the fact that Truex had promised him
$100,000 if he could save him, she decides to work with
Stewart. At times she is a hindrance, but for the most part,
a help. Their search takes them to a summer. theatre where,
after many mishaps and exciting experiences; Stewart
finally unravels the case. He proves that Miss Drake and
her lover (Sidney Blackmcr) had committed the murder
in order to involve Truex, their hoi>e being that he would
be found guilty. In that way Miss Drake would have in-
herited her husband's fortune. Stewart prevents them from
committing another murder — that of Miss Drake's former
husband, from whom she had not been divorced, and who
was trying to blackmail her. By this time. Stewart and Miss
Colbert are madly in love with each other.
Ben Hecht and Herman J. Mankiewiez wrote the story,
and Ben Hecht. the screen play; W. S. VanDyke II di-
rected it, and Frank Davis produced it. In the cast are
Guy Kibbee, Nat Pendleton. Edgar Kennedy, and others.
Because of the murder it is unsuitable lor children. Good
for adolescents and adults, Suitability, therefore, Class B.
76
HARRISON'S REPORTS
May 13, 1939
CRIME SCHOOL
It is peculiar that types of pictures that go in
cycles are not confined to the United States alone;
the whole world seems to be affected.
For several months there has been an outcry in
the United States against the fact that the number
of crime pictures that are produced are too many.
And there has been an outcry against the same thing
in India. Here is part of an editorial that I read in
Filmindia, a trade paper published in Bombay :
"The ever increasing tendency among Indian
producers to produce crime pictures is to be de-
plored. Our producers are on the wrong track. In-
stead of doing real social and national work by
producing pictures that would elevate the moral
standard of our people and educate the nation on
right lines through this all-important instrument of
visual education, they are falling over one another
to establish a crime school in India after the style
and fashion pursued by the Americans. . . .
"It does not need much intelligence to imagine
the sad effect of such pictures on the minds of our
growing younger generation.
"Even our present-day professional criminals
are taking pointers from these films, made thrilling
by the versatile brains of the script writers.
"As a result of these dirty pictures, crime in the
country has been in the increase. So many methods
of committing crime and escaping have been shown
in these films, that the amateur criminal soon be-
comes a professional feeling himself safe in this
newly acquired knowledge from the films. . . .
"Why should talents be prostituted to teach
crime to our people when so many other things can
be taught — things which will turn our country into
a nation of better men?"
The advice that editor Baburao Patel has given
to the Indian producers applies with equal force to
the American producers. For several years the
number of crime pictures produced by them has
been altogether out of proportion to the other types.
Some companies have based more than one-half of
their product on crime stories.
Let us glance at the crime pictures that have been
reviewed in Harrison's Reports since the first
week in January :
In the nineteen weeks since the first week in
January, 142 pictures have been reviewed. Of
these, 82 or 56 7%00%, have been founded on
some kind of crime theme — either murder or steal-
ing. It is astounding!
Of course, not all of them are demoralizing —
perhaps about one-third of this number are harm-
less ; but when one takes into consideration the
extraordinarily high percentage of vicious crime
pictures, one wonders whether the Hollywood pro-
ducers realize what the outcome may be.
Are crime pictures harmful ?
While in Detroit, attending the National Con-
vention of the Variety Club, I was told by an ex-
hibitor that, the following day after the opening of
"Huckleberry Finn" at his theatre, twenty corn-
cob pipes disappeared from the neighborhood drug
store ; the boys who stole these pipes were influ-
enced by Mickey Rooney's smoking.
I have been informed that there is a definite boy-
cott against pictures of this type in many parts of
the United States, carried on by the Parents Teach-
ers Association and by the Women's Clubs, and,
judging by the poor reception these crime pictures
are receiving, I would not be surprised if this boy-
cott is national. Do you wonder, then, why the pic-
ture business has been shot to pieces?
If any one should tell you that this type of pic-
tures does not influence the minds of young boys
adversely, because the criminal is punished in the
end, tell him to have his head examined by a psychi-
atrist. You can't show to young minds the commis-
sion of crime for five reels and expect the influence
of their seeing crime committed to be effaced just
because the criminal is punished for his misdeeds
in the last reel ; the natural tendency for a young
man is to say to himself: "How foolish he was to
be caught: If it was me, I wouldn't have done it
that way."
Some pictures show the criminals brave and fear-
less and reckless. That impresses the minds of the
young more than the punishment the criminal re-
ceives in the end.
Gentlemen-producers! You had better clean up
your house before it is cleaned up for you. Do you
remember the outcry against sex pictures? You
were compelled to heed that outcry. Well, worse
things will happen to the industry if you don't stop
making so many crime pictures. But the sad part of
it will be that the exhibitors, innocent parties, will
suffer more than will you.
BOX-OFFICE PERFORMANCES OF
1938-39 SEASON'S PICTURES — No. 5
Warner Bros. Pictures
"Nancy Drew, Detective," with Bonita Gran-
ville. Frankie Thomas, and John Litel ; produced
by Bryan Foy and directed by William Clemens,
from a screen play by Kenneth Garnet: Fair-Poor.
"The Dawn Patrol," with Errol Flvnn, David
Niven, Basil Rathbone, and Donald Crisp; pro-
duced by Robert Lord and directed by Edmund
Goulding. from a screen play by Seton I. Miller and
Don Totheroh : Very Good-Good.
"Devil's Island," with Boris Karloff ; produced
by Bryan Foy and directed by William Clemens,
from a screen play by Don Ryan and Ken Garnet :
Good-Fair.
"King of the Underworld," with Kay Francis
and Humphrey Bogart ; produced by Bryan Foy
and directed by Lewis Seiler, from a screen play by
Ceorge Bricker and Vincent Sherman: Good-Fair.
"Off the Record," with Joan Blondell and Pat
O'Brien ; produced by Sam Bischoff and directed
by James Flood, from a screen play by Earl Bald-
win, Niven Busch, Laurent Kimble, and Robert
Buckner : Fair.
"They Made Me a Criminal," with John Gar-
field and Gloria Dickson ; produced by Benjamin
Glazer and directed by Busby Berkeley, from a
screen play by Sig Herzig : Good-Fair.
"Wings of the Navy," with George Brent, John
Payne, and Olivia deHavilland ; produced by Hal
B. Wallis and directed by Lloyd Bacon, from a
screen play by Michael Fessier: Very Good-Fair.
Twelve pictures have been released. Grouping
the pictures of the different ratings from the begin-
ning of the season, we get the following results :
Very Good-Good, 3 ; Very Good-Fair, 1 ; Good,
1 ; Good-Fair, 5 ; Fair, 1 ; Fair-Poor, 1.
The first twelve pictures in the 1937-38 season
were rated as follows :
Excellent- Very Good, 1 ; Very Good-Good, 2 ;
Good-Fair, 3 ; Good-Poor, 1 ; Fair, 1 ; Fair- Poor, 4.
IN TWO SECTIONS— SECTION ONE
Entered as second-class matter January 4, 1921, at the post office at N«w York, New York, under the act of March 3, 1879.
Harrison's Reports
Yearly Subscription Rates: 1270 SIXTH AVENUE Published W««hly by
United States $15.00 p„ , ft1 9 Harrison's Reports, Inc..
U. S. Insular Possessions. 16.50 lN.OOm lOl£ Publisher
Canada 16.50 New York, N. Y. P. S. HARRISON, Editor
Mexico, Cuba, Spain 16.50 . ,, .. . „ . _ .
Great Britain 15 75 A Motlon Picture Reviewing Service
Australia, New Zealand! Devoted Chiefly to the Interests of the Exhibitors Established July 1, 1919
India, Europe, Asia .... 17.50
*i rw Its Editorial Policy: No Problem Too Big for Its Edkorial Circle 7-4622
^opy Columns, if It is to Benefit the Exhibitor.
A REVIEWING SERVICE FREE FROM THE INFLUENCE OF FILM ADVERTISING
Vol. XXI SATURDAY, MAY 20, 1939 No. 20
ENCOURAGING SIGNS IN FIRST-RUN
DOWN-TOWN SITUATIONS
For several years the down-town first-run theatre situa-
tions have been controlled by the affiliated circuits, but it
seems as if their grip is beginning to be loosened up. From
Boston comes word that an independent has acquired con-
trol of the Beacon, and in Buffalo another independent has
taken over the Century.
What is causing conditions to alter is the dissatisfaction
of the owners of the properties themselves. Since 1929, the
heads of the affiliated circuits have been going to the land-
lords (banks in most instances, demanding a reduction in
rent, and the landlords have reached a point where they
have become so fed up with the tenants that here and there
a landlord casts an eye around for some independent to take
over his theatre. That is how it happened that the afore-
mentioned theatres have been leased to independents.
What has gone on in Boston and Buffalo must have gone
on hi some other big cities throughout the country.
It seems as if a new life has been infused into the indepen-
dent ranks : the independent exhibitors, encouraged by the
equity suits that the Government has brought against the
major companies, as well as against independent theatre
chains, to break up the monopoly that these have established
years ago and have enjoyed ever since, do not fear to ven-
ture into realms hitherto barred to them ; they undoubtedly
feel that the market will, sooner or later, be thrown open,
and believe that they will have no trouble in getting product.
The loosening of the circuit grip on the first-run down-
town situations is not going to prove detrimental to the
motion picture industry in general, even though it might
prove so to some individual companies. With a free market,
producers with brains, money and initiative, and with a
desire to produce independently, will have an opportunity
to satisfy their desires, whereas they are now shut out.
The independent producing-distributing companies should
encourage the freeing of the market from the affiliated grip.
THE TREK TO MINNEAPOLIS
This paper has just been informed that Mr. George
Skouras, one of the three Skouras brothers, operators of a
large number of theatres, has accepted Mr. Steffes' invita-
tion to be present at the Allied convention in Minneapolis.
Some of the other executives who have already signified
their intention to attend the convention are the following
(their names in alphabetical order) :
Neil Agnew, general manager of Paramount ; N. J. Blum-
berg, president of Universal (if he can make it — he is taking
his family to the Coast the first week of June) ; George
Dembow, National Screen Service ; Ned Depinet, vice
president and general manager of RKO (will exert a great
effort to be there) ; Henri Elman, of Monogram Pictures;
.[. E. Flvnn, of MGM ( will exert a great effort to be there) ;
W. C. Gehring, of 20th Century-Fox ; Edward A. Gulden,
\ ice president of Monogram Pictures; J. R. Grainger,
president of Republic Pictures; W. Kay Johnston, presi-
dent of Monogram Pictures Ed. Kuykeudall. president of
Ml'TOA; Jules Levy, general sales manager of RKO;
Ray Lewis, publisher Canadian Moving Picture Diyest;
Abe Montague, general sales manager of Columbia (will
exert a great effort to be there) ; David Palfreynian, of the
I lays office; Terry Ramsaye, editor of Motion Picture
Herald, H. M. Richey, Public Relations Department of
RKO; Herman Robbins, of National Screen Service;
Wm. F. Kodgers, general manager of distribution of Metro-
Goldwyn-Mayer ; Max Roth, of Republic Pictures; E. M.
Saunders, of Metro-Goldwyn-Mayer ; L. J. Schlatter, vice-
president of United Artists ; Wm. A. Scully, general sales
manager of Universal ; Gradwell L. Sears, president of
Warner Bros. Pictures ; Harry Sherman, producer of the
Hopalong Cassidy series of westerns for Paramount ; Mort
H. Singer, operator of theatres for RKO; Herbert J.
Yates, Sr., of Republic (will attend if he can possibly post-
pone his trip to London).
From this array of celebrities, and of others who will no
doubt inform Mr. Steffes that they will attend, you may
realize, I am sure, what a sensational convention it will be.
If you are planning to attend and you have not yet made
your reservations, write, telegraph or telephone Mr. W. A.
Steffes, chairman of the Convention Committee, in care
of World Theatre, Minneapolis, for reservations ; if you
have not yet formulated your plans, formulate them right
now, before all the rooms are taken up. If you should miss
this convention, you will have missed one of the most im-
portant events in your career as an exhibitor.
HARRISON'S FORECASTER NOW COM-
BINED WITH HARRISON'S REPORTS
Since the summer of 1931, forecasts of such novels, stage
plays, and magazine stories as were announced each season
tor production and were available were published in a
service distinct from Harrison's Reports, called Harri-
son's Forecaster, for which a separate charge was made.
Hereafter, this information will, when and as available,
appear in these columns as part of the regular service. No
extra charge will be made for it to subscribers of Harri-
son's Reports.
So far, this office has been able to obtain a complete list
of material only from Metro-Goldwyn-Mayer.
It is becoming more and more difficult to obtain synopses
of such material from the other companies, but this office
hopes to be able to obtain a fairly complete list from United
Artists ; and, in view of the fact that this company is now
selling its pictures either singly or in as large or as small
groups as an exhibitor desires to purchase, forecasts of this
company's story material should prove of great value to
subscribers of Harrison's Reports.
Metro-Goldwyn-Mayer
"AFTER DARK," the Saturday Evening Post story,
by Graeme Lorimer and Sarah Lorimer, with Ina Claire
as the star. It is a drama in which a son hates his father,
because the father had been tried for the murder of a
prostitute, and, even though acquitted, the son felt humili-
ated. But the wife stands by him. The father becomes re-
generated.
Comment : The character of the father is not sympathetic
in the first part, because he proves unfaithful to his wife.
The son is a cad. It is the wife whose loyalty wins one.
Forecast : With proper treatment the story could make
a powerfully dramatic picture. The father, whom the story
presents as having murdered a prostitute, with whom he
had become infatuated, might be presented as having been
innocent of the crime. The son could be made to find out
how noble his father was and have a guilty conscience for
having had so little faith in his father. With such alterations
the picture could turn out from very good to excellent in
quality.
"ALASKA," with Clark Gable — a melodramatic adven-
ture unfolding in Alaska, in which the hero, finding himself
after the Civil War impoverished, accepts an assignment
from Seward, Secretary of Slate, to go to Alaska to work
against the English while the Secretary was effecting the
{Continued on last page)
78
HARRISON'S REPORTS
May 20, 1939
"Tumbleweeds" with William S. Hart
(Astor Pictures, rel. May 20; time, 86 min.)
This is a reissue, having been produced in 1925 and re-
leased that year through United Artists ; consequently, it
is silent. It has, however, been fitted with sound effects.
But it is by no means a reissue of an ordinary western.
Had it been produced today, it would undoubtedly have
cost more than one million dollars. The "rush" scene that
shows men, women and children, speeding in all kinds of
conveyances to stake homesteads in the Cherokee strip of
land, which had been thrown open for settlement by the
United States Government, is as thrilling as was a similar
scene in Edna Ferbcr's "Cimarron," produced by RKO the
latter part of 1930; the same maddened crowd, riding fast
"to get there first," as was seen in "Cimarron," is seen in
"Tumbleweeds."
The picture lias been fitted with sound effects so well that
after a while one is apt to become oblivious to the fact that
the actors do not talk. And James Bradford, that veteran
musician and composer, has fitted it with music with the
same old skill, delighting one.
In addition to the sound fitting, the distributors have had
Mr. Hart appear before the camera for a talking reel, which
forms the prologue of the picture. Those who remember
Mr. Hart in the silent days will get a surprise to hear him
talk. And the talk is not ordinary ; the famous actor reveals
his heart through it — his love for the great west. In spots,
he moves one deeply.
The story is interesting. In it, Mr. Hart is shown as a
man w ho stands by the weak when the strong try to take
advantage of them. In this instance, the heroine is Barbara
Bedford, sister of the villain, a half-brother of hers ; he had
become acquainted with her through her little brother, Jack
Murphy, whom he had defended when Richard R. Neil,
their half-brother, had tried to beat him up. Up to that
time, Mr. Hart was a tumbleweed, being rolled by the wind
from place to place just as is that grass when dry ; but upon
meeting Barbara, he decides to stake in her name a home-
stead, the Bar K Ranch, of which he had been foreman.
Through the machinations of Neil and of a co-worker of
his, Hart is thrown into jail as a "sooner," but Hart
breaks away and stakes the homestead. A misunderstanding
arises betw'een Barbara and him, but in the end she realizes
Hart's true worth.
The familiar face of Lucien Littlefield appears in the
picture ; he is Hart's pal. The story was written by Hal G.
Evarts, was adapted to the screen by C. Gardner Sullivan,
and directed by King Baggot. The action is much faster
than that of the silent version, because it is projected at the
rate of 90 feet a minute, instead of 70 feet a minute, the rate
at which it was photographed.
Class A.
"Trapped in the Skies" with Jack Holt
(Columbia, June 1 ; time, 61 min.)
A typical Jack Holt program melodrama. Although the
story is somewhat far-fetched, it should hold the attention
of those who prefer action to story values. The action keeps
one in suspense, since it is not disclosed, until the end, how
the spies managed to commit sabotage. The picture holds
little attraction for women, for there is no romance : —
Jack Holt, a Major in the U. S. Air Corps, arranges
with Army officials for a demonstration of a plane con-
trolled by wireless, invented by Holmes Herbert. But the
test fails, and the plane crashes, killing the pilot. Upon
examining the wreck, Holt is convinced that sabotage had
been committed by spies. He hits upon a plan to uncover
the identity of the guilty persons ; but first it was necessary
for him to leave the Army. He works out a scheme with
his commander whereby the blame for the accident is put
upon him, thereby causing him to be dishonorably dis-
charged. The scheme works, for the spies try to contact
him, with the intention of trying to buy from him the plans
for the plane. Two of the members of a competing ring are
killed before Holt is able to solve the mystery. He proves
that the inventor himself was working with the spies and
bad committed the sabotage on the plane, hoping that the
United States government would turn it down so that he
could sell it to foreign agents for more money. Holt forces
him to confess. His work finished, Holt returns to his
Army post.
Eric Taylor and Gordon Rigby wrote the story and
screen play; Lewis D. Collins directed it, and Larry Dar-
mour produced it. In the cast are C. Henry Gordon, Ralph
Morgan, Kathcrinc DeMille, Paul Everton, Sidney Black-
mer, Ivan Lebedeff, and Regis Toomey.
Suitability, Class A.
"Hotel Imperial" with Ray Milland,
Isa Miranda and Reginald Owen
(Paramount, May 12; time, 79 min.)
A rather tiresome drama, with forced comedy situations.
The story is preposterous ; and, since the action is confined
mostly to one place, it naturally lacks speed, depending
mainly on dialogue for the plot development. Even the ro-
mance lacks credibility. The interjection of songs by the
Don Cossack Choir and one song by Isa Miranda is pleas-
ant, but of slight importance to the picture. The only out-
standing performance is that given by J. Carrol Naish,
mainly because his is the only colorful role. The action
takes place in Galicia, during the World War : —
Knowing that her sister, who had worked as a chamber-
maid at the Hotel Imperial during its occupancy by Aus-
trian officers, had killed herself because of a man, Miss
Miranda, an actress, in order to find the guilty man, goes
to the hotel, applying for work as a chambermaid. She
learns that her sister had often frequented room 12; but
before she could find out who had occupied that room, the
Austrians are forced to retreat before the Russians, who
occupied the town. Going to room 12, she finds there Ray
Milland, an Austrian officer, who was hiding from the
Russians. Believing him to have been the man who had
betrayed her sister, she gives him away to the Russian
officers ; but he escapes. Gene Lockhart, the hotel porter,
an Austrian by birth, helps Milland by dressing him as a
waiter. When Miss Miranda discovers that she had been
mistaken about Milland, she tries to help him. It is later
that she finds out that Naish, a member of the Russian
Secret Service, was the man responsible for her sister's
death. She goes to his room to kill him ; but Milland, who
had gone there to help Naish, believing him to be an Aus-
trian officer, only to find that he was a Russian spy, shoots
him first. He then escapes in order to warn the Austrian
Army about a Russion scheme to annihilate them. When
Naish dies, Miss Miranda takes the blame; she is sen-
tenced to death. Milland, leading the Austrians, arrives in
time to vanquish the Russians, saving Miss Miranda's life.
Having fallen in love with each other, they are happy to
be together once more.
Lajos Biro wrote the story, and Gilbert Gabriel and
Robert Thoeren, the screen play ; Robert Florey directed it.
In the cast are Curt Bois, Reginald Owen, and others.
Suitability, Class B.
"Outside These Walls" with Michael
Whalen, Dolores Costello and
Virginia Weidler
( Columbia, May 4 ; time, 61 min. )
A pretty good program melodrama. It is a prison picture,
but contrary to others of this type it does not deal with
crime ; it shows the rehabilitation of a young man who had
gone slightly wrong, but only once. He had stolen money
from his employer just to provide for his wife the things
she had been accustomed to. She had married him without
her parents' consent and for this reason she was cut off.
She eventually dies of a broken heart. There is some human
interest, and one's attention is held pretty well.
The hero (Michael Whalen) is made the editor of the
prison paper and when, during a revolt of the prisoners, he
saves the warden's life, he is pardoned by the Governor, but
he refuses to accept the pardon on the ground that, since he
had erred, he wanted to pay his debt to-society fully. When
he is released, he goes to seek his child (Virginia Weidler),
who, after her mother's death, had gone to live with her
puritanical aunt. W halen tries to get a job on a newspaper,
but with no success. Finally he decides to buy a neighbor-
hood paper, borrowing $500 from the warden (Selmar
Jackson), who had great faith in him. Whalen makes the
newspaper a success, and when Jackson loses his job, he
puts him up as a candidate for Governor with a program to
clean up the city's graft. One of Whalen's ex-cellmates
"pulls a job," and since he had called on Whalen once, the
police accuse Whalen of complicity, arresting him. The
rival paper, owned by Dolores Costello, sister of the opposi-
tion candidate, prints his prison record. Whalen's little
daughter, who had heard her father order the criminal off
the premises, calls on Miss Costello and, convincing her
that her father was innocent, enlists her support and obtains
her father's freedom. A romance develops between Miss
Costello and Whalen.
Ferdinand Reyher wrote the story, and Harold Buchman,
the screen play ; Raymond B. McCarey directed it.
Be;ng a prison picture it may be classed as B.
May 20, 1939
HARRISON'S REPORTS
79
"Missing Daughters" with Richard Arlen,
Rochelle Hudson, Isabel Jewell, Marian
Marsh and Edward Raquello
(Columbia, May 26; time, 59 Him.)
Produced very well ; it holds one's interest undiminished
to the end. But the thttine is so bold that theatres that cater
to family trade may not be able to show it, for it deals with
white-slave traffic, even though in a delicately guarded
form. As a matter of fact, the facts dealt with lead one to
believe that the story is a reenactment of the Luciano affair,
in this city. There are some thrills, caused by the hero's
placing his life in jeopardy while helping others. The direc-
tion, acting, settings — all are up to a high standard : —
Marian Marsh comes to New York in search of a dra-
matic career; instead, she gets a job dancing at the Club
Naturelle, a cabaret, really a veiled house of prostitution,
conducted by Edward Raquello, who obtained his "host-
esses" through fake employment agencies. Embittered by
her experiences, she decides to quit, threatening to talk.
The following morning her body is found floating in the
river. Arlen, a noted newspaper columnist and radio com-
mentator, blasts the police over the radio for their inability
to find the murderers, and decides, on a dare by the police,
to undertake the job himself. He finds a co-worker in the
person of Rochelle Hudson, sister of the dead girl, who
had come to him after hearing his broadcast. After many
complications, in which he and those who worked with him
had had thrilling experiences, and had risked their lives,
Arlen succeeds in uncovering the ramifications or the gang
and in bringing about their arrest.
Michael L. Simmons and George Bricker wrote the
original screen play, and C. C. Coleman, Jr., directed it.
Quality, Class A (program) ; suitability, Class B for
some theatres, but Class C for others. Tempo, pretty fast.
Not for children, or adolescents, and not for Sunday
showing. —
"Fixer Dugan" with Lee Tracy, Virginia
Weidler and Peggy Shannon
(RKO, April 21 ; time, 68 min. )
A poor circus story, in which the most thrilling moments
are when Virginia Weidler enters the lions' cage while
Peggy Shannon was performing and Peggy has a "terrible"
time backing up the lions so as to save Virginia's life, and
when a lion is let out of the cage and again Peggy saves the
life of Virginia. The remainder is trite and of hardly much
interest. As for Lee Tracy, it seems as if he has seen his
best days in this sort of stuff. Oh, yes, the sight of a tight-
rope walker falling to her death might be called thrilling
by some people ; but it is too gruesome to give one pleasure.
Most of the action centers around Virginia Weidler, who
is reared in the circus. When her mother falls off the tight
wire and is killed, Lee Tracy and Peggy Shannon look
after her. Some crooks, who had inveigled Peggy into
signing a bill of sale for her lions when she thought she
had been signing a promissory note for $200, try to take
the lions away from her, but Tracy plays on them the same
trick that they had played on Peggy, thus saving the lions.
The authorities try to take Virginia away from the circus
because she had been employed in an act, but eventually
they let Peggy and Lee have her.
The screen play was written by Bert Granet and Paul
Vawitz. The picture was directed by Lew Landers, and
was produced by Cliff Reid.
Not good for Sunday showing. Children might like the
circus stuff. Class B.
"Panama Lady" with Lucille Ball
and Allan Lane
( KKO, May 12 ; time, 65 min.)
A weak program melodrama. The story, in addition to
being trite, is rather sordid, and the actions of the charac-
ters are such as to set one against them. The hero is not
appealing, for on more than one occasion he is shown
attempting to induce the heroine to become intimate with
him; as a matter of fact, his first appearance is a bad one,
for he is shown drinking to excess. There is nothing of a
pleasurable nature in the story ; almost every one displays
base traits. The story is told in flashback : —
Lucille Ball, a dancer in a Panama honky-tonk, is des-
perate when the cafe owner (Evelyn Brent) tells her that
she would have to dispense witli her services. Miss Ball
was in love with Donald Briggs, an aviator, who had
promised to marry her upon his return from a business
trip; it was, therefore, necessary for her to stay in Panama.
Miss Brent agrees to give her room and board if she would
help her steal from Allan Lane, a customer, a large sum
of money. Although she disliked doing it, she agrees; her
part was to get Lane drunk. When Lane awakens and finds
his money gone, he raves. Miss Ball agrees to go back to
Lane's jungle home to work as his housekeeper. She leaves
a note for Briggs, telling him where she was. Briggs,
realizing that Miss Ball had found out about his gun-
running business, decides to kill her. Miss Ball's arrival
arouses the jealousy of Steffi Duna, a native girl who loved
Lane. Lane's contempt for Miss Ball changes to love.
Everyone is overjoyed when the gusher Lane had worked
on comes in. Briggs arrives on the same day. Hearing about
the gusher, he attempts to steal the written claim to it. Miss
Ball points a gun at him and shoots ; he falls dead. Lane
helps her escape. A year later he meets her in the city and
tells her that he had discovered that Miss Duna had com-
mitted the murder, Miss Ball's bullet having gone astray.
She had done it in the hope that she could frighten Miss
Ball away. Lane, now a wealthy man, asks her to marry
him ; she accepts him.
Garrett Fort wrote the story, and Michael Kanin, the
screen play; Jack Hively directed it, and Cliff Reid pro-
duced it. In the cast are Bernadene Hayes, Abner Biber-
man, William Pawley, and others.
Unsuitable for adolescents or children, or for Sunday
showing. Adult fare. Class B. Tempo, slow.
"Panama Patrol" with Leon Ames
and Charlotte Wynters
(Grand National, May 20 ; time, 68 min. )
This follow-up to "Cipher Bureau" is a pretty entertain-
ing program melodrama with fairly good production values.
The action is fast, and the story more plausible than that of
the first picture. Again the plot revolves around the work-
done by the Cipher Bureau of the Federal Bureau of Inves-
tigation in Washington ; it shows the methods employed to
decipher codes, and stresses the alertness and bravery of
the men connected with this work. One is held in suspense
because of the danger to hero and heroine. The romance is
minimized : —
Just as Leon Ames and Charlotte Wynters were pre-
paring to get married, they are called back upon the urgent
request of the government to decipher a code message.
Since the code was in the Chinese language, Ames calls in
his interpreter (Abner Biberman), little realizing that he-
was at the head of the foreign spy ring. Through Biber-
man, the spies are naturally able to learn of every move
made by Ames and his men. On two occasions they trap
Ames, but the alertness of his assistant ( Weldon Heyburn >
saves his life. Miss Wynters, through a clue, suddenly
realizes Biberman's position in the matter and goes to his
house, where she confronts him with her suspicions. He
admits everything and then forces her to accompany him
to the hideout. Ames and his men decipher another code
and thus find out where the hideout was ; they arrive in
time to save Miss Wynters and to capture the spies. The
work finished, Ames and Miss Wynters continue with their
marriage plans.
Arthur Hoerl wrote the original screen play, and Charles
Lamont directed and produced it. In the cast are Adrienne
Ames, Sidney Miller, John Stuart, Donald Barry, and
others.
Suitability, Class A.
"Chasing Danger" with Preston Foster,
Lynn Bari and Henry Wilcoxon
(20th Century-Fox, May 12; time, 60 min.)
One of those features that should form the second part
of a double bill ; the box office would die a horrible death if
it were to be shown as a single feature on the bill. Its chief
characteristic is fast action — nothing much else.
The hero (Preston Foster), ace man of a newsreel com-
pany, meets Lynn Bari in a cheap cafe in Paris. Just as
they were getting acquainted, his assistant, (Wally Ver-
non) informs him that they had been assigned to cover a
revolt in Morocco. At that very moment the police raid
the cafe and arrest Miss Bari as the woman who was
behind the Arab revolution, but the hero and his assistant
enable her to escape. When, on the way to Morocco, the
hero discovers that the boat was carrying machine guns
and ammunition, he is thrown into the brig on orders of
Miss Bari. But when they reach port he is able to obtain
his freedom. In Morocco they have several escapades; they
are arrested by the chief revolutionist when they try to
photograph him. Eventually the hero discovers, and proves
to the heroine, that the chief revolutionist was double-
crossing her. He gets through a message to the French of
their imprisonment. The French send planes and bombard
the revolutionists. Thus hero and heroine are rescued.
Leonardo Bercovici wrote the story, and Robert Ellis and
Helen Logan, the screen play; Kicardo t'ortez directed it.
Suitability, Class B.
80
HARRISON'S REPORTS
May 20, 1939
purchase of that land from the Russians. The hero goes
with the idea of working for the English, but he changes
his mind and works for the United States. A young woman,
of Russian descent, has a great deal to do with his re-
generation.
Comment: There is fast action, human interest, and
there are thrills.
Forecast : the story should make a powerful melodrama,
and with Clark Gable in the leading part it should do excel-
lent business.
"BALALAIKA," the play by Eric Maschwitz, an after-
revoluticn drama of Russian aristocracy, with Nelson Eddy
and Ilona Massey, with the action unfolding in the Bala-
laika Cafe, in Montmarte (Paris), in which cafe the
waiters were all Russian nobles.
Comment : The story is not unusual, and the action is not
exciting; but it is glamorous. The unhappy lovers win
one's compassion. Perhaps MGM intends to make a musical
out of it. If so, it should turn out either fairly good or good.
"BEAU BRUMMEL," the stage play by Clyde Fitch,
with Robert Donat as the star— a period drama, unfold-
ing in London during the reign of King George III. The
chief character is George Bryan Brummel, a handsome
young man, whose attire set the fashion, and whose com-
pany the best ladies in the land and the highest aristocrats,
including the Prince of Wales, sought. The play, with Rich-
ard Mansfield, made a great hit. A successful silent picture
was made out of it by Paramount, with the late Rudolph
Valentino in the leading part, with Sydney Olcott as the
director.
Comment : The story is glamorous and the action inter-
esting. There is a chance for brilliant dialogue, and for
magnificent settings. The value of the story material, how-
ever, depends almost entirely upon the leading character.
Forecast : With Robert Donat in the leading part, MGM
should make a picture either very good or excellent in
quality, and no doubt in box-office results, even though the
silent version, with John Barryniore in the leading part, at
that time very popular, "flopped."
"DANCING CO-ED," a romantic comedy, with music
and dancing against a college background.
Comment : The action is pretty fast, and the romance is
appealing, particularly to young folk.
Forecast : It should make a good picture, its box-office
results depending on the popularity of the leads.
"FLORIAN," a novel by Felix Salten, a drama center-
ing around the warm friendship between a stable boy
(hero), a magnificent stallion, and a small dog, with
Austria as the locale, and the Austrian court as part of
the background, and with a noble girl as the heroine,
brought together with the boy by his love for the horse.
In the synopsis furnished by MGM, the dog dies, the
hero is killed in the world war, and Florian, the horse,
after many vicissitudes, finds peace at a farm. But the
story has actually been altered : not only does the boy live,
but he and the girl emigrate to America, where they find
happiness.
There is glamour in this story, and deep human sym-
pathy. Who can fail to be moved by the close friendship
of a man, a horse and a dog? The romance is naturally
sympathy arousing. No one can fail to surround with love
>uch a character as the noble Austrian girl falling in love
with a commoner.
The picture is to be produced for MGM by Winfield
Sheehan, who made so many outstanding attractions when
lie was a leading figure in the old Fox organization. It
should turn out either very good or excellent in quality,
with a box-office appeal depending on the popularity of
the leads.
"THE GREAT LAUGHTER," the Fannie Hurst novel,
a drama in which a widow, by investing her money wisely,
amasses a fortune, but has the ill-luck to see her son a
criminal, and her grandchildren nonentities.
Comment : With the exception of the mother-grand-
mother, the characters are unpleasant.
Forecast: Unless the characterizations as well as most
of the situations are altered, the MGM efforts may be
wasted in such story material.
"GUNS AND FIDDLES," a romantic melodrama with
music, with Robert Taylor and Hedy LaMarr as the stars.
It is a light story, a sort of "Robinhood," mixing heroes,
bandits, gypsies and music; it Unfolds in the days of very
old Hungary.
Comment : There is fast action, some human interest, a
colorful background, and a chance for good music.
Forecast : The picture will, no doubt, turn out good to
very good in quality, but whether this- story suits well the
stars for box-office results it is hard to tell. Taylor seems to
be miscast in a story of this kind.
"HOUSE OF GLASS," by Max M-arcin, a crook melo-
drama involving an innocent young girl, with Joan Craw-
ford. In it the heroine, a stenographer,, becomes engaged
to a chauffeur, little realizing that he had stolen from
his former employer valuable jewels. She is arrested along
with him. Both receive a prison sentence. Soon she is
paroled, and then breaks her parole, and marries another.
But her past haunts her. Eventually her husband obtains
a pardon for her.
Comment : There is action throughout the entire story,
and since a menace hangs over the heroine at all times one's
interest never lags. The heroine's fate awakens one's sym-
pathy.
Forecast : It should make a good to very good melodrama
of this type, with box-office possibilities in each locality,
depending on Miss Crawford's drawing powers.
"IT CAN'T HAPPEN HERE," the Sinclair Lewis
novel, a fantastic political melodrama, in which it is shown
that the United States goes fascist, and is ruled over by a
dictator, with the hero and those who believed in his theory
struggle to bring back democracy.
Comment : This story, dealing with the horror and the
brutalities of a dictatorship, is powerful. As a a matter of
fact, it is so powerful that many of the book's readers get
nightmares. Its moral is supposed to be to arouse Americans
against the possibility of a dictatorship.
Forecast : The picture should turn out very good in qual-
ity, and the fame of the author, and the publicity the book
has received, may offset the fact that it is a propaganda
story, particularly if MGM should put popular actors in
the lead.
"IF I HAD A COMRADE," the story by Viscount
Castlerose, a melodrama starting during the World War
and developing in the period when the Nazis came into
power, with the hero an ace German aviator, who becomes
a pastor, and who, because of his preaching against Nazism,
is sent to a concentration camp, where he develops tubercu-
losis, is liberated and, after preaching a stirring sermon
against Nazism, dies. There is also a good romance.
Comment : Powerful material, the kind that should appeal
not only to religious persons but to all laymen who love
freedom. The hero's fighting for his ideals is stirring.
Forecast : The picture should turn out good to very good
in quality.
"IF I LOVE YOU AGAIN," the story by Octavus Roy
Cohen, with William Powell and Myrna Loy, a drama of
loss of memory, with a murder involvement.
Comment : There is interest all the way through, and a
chance for considerable comedy.
Forecast : With Myrna Loy and Wi-lliam Powell, the pic-
ture should turn out very good, and should do very well at
the box office.
"JOURNEY'S END," the R. ;C: Sheriff play, with
Robert Donat. It is a war drama, in which most of the
action unfolds in a dugout, the English officers' quarters,
situated just about one hundred yards away from the Ger-
man dugout. The English are shown expecting an attack at
any moment. It was produced in England and released in the
United States in the summer of 1930.
Comment : This is a powerful story ; it has no war scenes,
but shows the tragedy of war as it affects the men person-
ally. There are no light touches, and no romance.
Forecast : A picture based on this story material will, no
doubt, turn out to be powerful, but it is doubtful whether the
public will accept it as an entertainment considering their
present state of mind. This paper hopes that MGM will not
produce it.
"KIM," the Rudyard Kipling novel, an adventurous
melodrama, with the British Army in India as the back-
ground, and with Hindu mysticism dealt with. The chief
character is a young English boy, whom a Hindu mystic
had taken under his wing.
Comment : There is considerable melodramatic action,
and the interest is held well.
Forecast : "Kim" should make a picture from good to
very good in quality, with the box office possibilities de-
pending on the leads.
IN TWO SECTIONS— SECTION TWO
HARRISON'S REPORTS
Vol. XXI NEW YORK, N. Y., SATURDAY, MAY 20, 1939 No. 20
(Partial Index No. 3 — Pages 54 to 76 Incl.)
Title of Picture Reviewed on Page
Back Door to Heaven — Paramount (85 min.) 67
Big Town Czar — Universal (66 min.) 74
Blind Alley — Columbia (70 min.) 74
Boys' Reformatory — Monogram (61 min.) 75
Broadway Serenade — MGM (112 min.) 63
Bulldog Drummond's Secret Police — Paramount
(54 min.) 58
Calling Dr. Kildare— MGM (86 min.) 70
Confessions of a Nazi Spy — First National (106m.) ... 71
Dark Victory— First National (105 min.) 63
Dodge City — Warner Bros. (103 min.) 62
Drifting Westward — Monogram (49m.) . . . Not Reviewed
East Side of Heaven — Universal (86 min.) 67
Family Next Door, The — Universal (60 min.) 67
First Offenders — Columbia (61 min.) 59
For Love or Money — Universal (66J4 min.) 66
Frontiers of '49 — Columbia (54i4m.) Not Reviewed
Ghost Town Riders — Universal (54m.) Not Reviewed
Hardys Ride High, The— MGM (80 min.) 67
Home on the Prairie — Republic (59m.) Not Reviewed
Honor of the West — Universal (58m.) Not Reviewed
Housemaster — Associated British (84 min.) 63
I'm From Missouri — Paramount (7&y2 min.) 54
It's a Wonderful World— MGM (85 min.) 75
Jaurez — Warner Bros. (127 min.) 75
Kid From Texas, The— MGM (70 min.) 66
Lady and the Mob, The — Columbia (65 min.) 54
Lady's From Kentucky, The — Paramount (76 min.) . . 70
Long Shot — Grand National (68 min.) 62
Lucky Night — MGM (82 min.) 71
Magnificent Outcast — RKO (See "Almost
a Gentleman") 51
Man of Conquest — Republic (98 min.) 66
Man's Heritage — Universal (See "Spirit of Culver") . . 39
North of Shanghai — Columbia (58 min.) 55
On Trial — Warner Bros. (61 min.) 58
Phantom Stage, The — Universal (57m.) ... Not Reviewed
Return of the Cisco Kid, The— 20th Century-Fox
(71 min.) 67
Romance of the Redwoods — Columbia (67 min.) 70
Rookie Cop, The— RKO (60 min.) 75
Rose of Washington Square — 20th Centurv-Fox
(85 min.) 74
Shine On Harvest Moon — Republic (57m.). Not Reviewed
Society Lawyer — MGM (77 min.) 54
Song of the Buckaroo — Monogram (56m.) .Not Reviewed
Sorority House — RKO (64 min.) 66
Story of Alexander Graham Bell, The— 20th Century-
Fox (96y2 min.) 58
Story of Vernon and Irene Castle, The— RKO (92m) . 55
Street of Missing Men — Republic (65 min.) 71
Streets of New York — Monogram (72 min.) 59
Sundown on the Prairie — Monogram (53m). Not Reviewed
Sunset Trail — Paramount (68 min.) Not Reviewed
Sweepstakes Winner — First National (59 min.) 71
Terror of Tiny Town, The — Columbia
(63 min.) Not Reviewed
Texas Stampede— Columbia (57^ min.) ... Not Reviewed
They Made Her a Spy— RKO (68 min.) 55
Thundering West, The— Columbia (58m.) . Not Reviewed
Torchy Runs for Mayor — Warner Bros. (59 min.) ... 74
Union Pacific— Paramount (135 min.) 70
Wild Horse Canyon — Monogram (50m.) .. Not Reviewed
Winner Take All— 20th Century-Fox (62 min.) 54
Women in the Wind — Warner Bros. (65 min.) 63
Wuthering Heights — United Artists (97 min.) 59
You Can't Get Away With Murder — First National
(78 min.) 62
Zenobia — United Artists (73 min.) 62
RELEASE SCHEDULE FOR FEATURES
Columbia Features
(729 Seventh Ave., New York, N. Y.)
9023 Whispering Enemies — J. Holt-D. Costello ..Mar. 24
9019 Romance of the Redwoods — Bickford Mar. 24
9205 North of the Yukon — Starrett (64 mm.) Mar. 30
9013 The Lady and the Mob — Bainter-Lupino Apr. 3
9030 First Offenders— Abel-Roberts Apr. 12
9214 The Law Comes to Texas — Star west. (58m).Apr. 16
9206 Spoilers of the Range (The Oklahoma Trail)
— Charles Starrett (58 min.) Apr. 27
9031 Outside These Walls— Costello-Whelan May 4
Blind Alley — Morris-Belamy-Dvorak May 11
9027 Missing Daughters — Arlen-Marsh May 22
9001 Only Angels Have Wings — Grant- Arthur r..Mav25
9024 Trapped in the Sky— Jack Holt June 1
9207 Arizona Cowboy — Starrett June 8
Q Planes — Olivier-Hobson June 15
Parents on Trial— Parker-Downs June 22
9208 The Man From Sundown — Starrett June 30
First National Features
(321 IV. 44th St., New York, N. Y.)
354 Dark Victory — Davis-Brent-Fitzgerald Apr. 22
364 You Can't Get Away With Murder — Bogart. .Apr. 29
353 Confessions of a Nazi Spy — Robinson May 6
373 Sweepstakes Winner — Wilson-Jenkins (re.) .May 20
374 Code of the Secret Service — Reagan May 27
Grand National Features
(50 Rockefeller Plaza, New York, N. Y.)
Wl-2 Ride 'Em Cowgirl— Dorothy Page (52m.) . Jan. 20
Wl-19 Six-Gun Rhythm— Tex Fletcher (57m.) .. May 13
314 Panama Patrol — Ames-Wynters May 20
301 Exile Express — Anna Sten-A. Marshal May 27
Wl-3 The Singing Cowgirl — D. Page (57m.) May 31
Metro-Goldwyn-Mayer Features
(1540 Broadway, New York, N. Y.)
925 The Ice Follies of 1939— Crawford . . . . : Mar. 10
928 Within the Law— Hussey-Neal-Kelly Mar. 17
927 Sergeant Madden — Beery-Curtis-Brown Mar. 24
930 Society Lawyer — Bruce-Pidgeon Mar. 31
931 Broadway Serenade — MacDonald-Ayres Apr. 7
929 The Kid From Texas— O'Keefe-Rice (re.)... Apr. 14
934 The Hardys Ride High— Stone-Kooney (re.). Apr. 21
932 Calling Dr. Kildare — L. Barrymore (re.) ....Apr. 28
933 Lucky Night— Taylor-Loy (re.) May 5
935 Tell No Tales — (A Hundred to One Shot) —
Douglas-Platt May 12
936 It's a Wonderful World— Colbert-Stewart ...May 19
937 Bridal Suite— Young-Annabella May 26
No release for June 6
6000 Enemies — Pidgcon-Johnson June 9
Tarzan — Weissmuller-O'Sullivan June 16
Maisie Was a Lady — Sothcrn-Young June 23
Stronger Than Desire — Bruce-Pidgeon June 30
Monogram Features
(1270 Sixth Ave., New York, N. Y.)
3863 Rollin' Westward— Tex Ritter (51 min.) .. .Mar. 1
3809 Mystery Plane— Trent-Young Mar. 8
3854 Trigger Smith— Randall (51 min.) Mar. 22
3824 Undercover Agent — Gleason-Deane (56m.).. Apr. 5
3802 Streets of New York— Cooper-Spellman Apr. 12
3829 Wanted by Scotland Yard— J. Stephenson ..Apr. 19
Boys' Reformatory — Frankie Darro May 1
3864 Down the Wyoming Trail ( Man From
Texas)— Tex Ritter (reset) May 18
Wolf Call— Movita-J. Carroll (reset) May 18
3855 Across the Plains (Riders of the Rio Grande)
—Randall (reset) June 1
Girl from Nowhere — Nagel-Hull June 10
Stunt Pilot — John Trent June 29
3865 Roll, Wagon, Roll— Tex Ritter June 29
Paramount Features
(1501 Broadway, New York, N. Y.)
3834 The Lady's From Kentucky— Raft-Drew ...Apr. 28
3835 Union Pacific — Stanwyck-McCrea May 5
3836 Hotel Imperial — Miranda-Milland (reset) .. .May 12
3837 Some Like It Hot— Hope-Ross-Krupa (re.). May 19
3838 Unmarried — Joncs-Twelvetrees (66 min.) . . . May 26
3864 Stolen Life — Bergner-Redgrave May 26
3839 Gracie Allen Murder Case — Allen-William. .June 2
3840 Undercover Doctor — Nolan-Naish-Logan ...June 9
3841 Invitation to Happiness — Dunne-MacMurray.June 16
3842 Grand Jury Secrets — Howard-Frawley June 23
3843 Heritage of the Desert — Woods-Barrat June 23
Island of Lost Men — Wong-Naish-Blore ...June 30
Republic Features
(1776 Broadway, New York, N. Y.)
865 The Night Riders— Three Mesq. (57 min.) ..Apr. 12
854 Frontier Pony Express — Rogers (58 min.) ..Apr. 20
811 Street of Missing Men — Biekford-Ryan Apr. 28
844 Blue Montana Skies — Autry (56 min. ) May 4
866 Three Texas Steers — Three Mesq. (56 min.). May 12
801 Man of Conquest — Dix-Patrick-Morgan May 15
855 Southward Ho — Rogers (58 min.) May 18
RKO Features
(1270 Sixth Ave., New York, N. Y.)
1937- 38 Season
838 Story of Vernon and Irene Castle — Ginger
Rogers-Fred Astaire Apr. 28
(End of 1937-38 Season)
1938- 39 Season
921 They Made Her a Spy — Eilers-Lane Apr. 14
922 Fixer Dugan — L. Tracy- Weidler Apr. 21
923 The Rookie Cop— Holt- Weidler Apr. 28
924 Sorority House— Shirley-Ellison May 5
925 Panama Lady — Ball-Lane May 12
Twentieth Century-Fox Features
(444 IV. 56th St., New York, N. Y.)
945 Inspector Hornleigh — Harker-Sim (76m.) ...Apr. 21
940 Return of the Cisco Kid— Baxter-Bari Apr. 28
8012 Climbing High— Matthews-Redgrave (71m.).Apr. 28
941 Chasing Danger — Foster-Bari- Vernon May 5
942 Rose of Washington Square — Power-Faye ...May 12
943 Boy Friend (Police School) — Withers May 19
944 The Gorilla — Ritz Bros.-Louise-Norris May 26
946 The Jones Family in Hollywood — Prouty . . . .June 2
947 Young Mr. Lincoln — Fonda-Brady-Weaver ..June 9
948 Charlie Chan in Reno — Toler-Cortez June 16
951 The Girl from Brooklyn — Faye-Baxter June 23
950 It Could Happen to You — Stuart-Erwin June 30
952 Mr. Moto Takes a Vacation — Lorre-Fiekl . . . .July 7
United Artists Features
(729 Seventh Ave., New York, N. Y.)
Made For Each Other — Lomhard-J. Stewart Feb. 10
King of the Turf— Menjou-D. Costello-Abel Feb. 17
Stagecoach — Trevor- Wayne-Devine-Carradine . . . Mar. 3
Prison Without Bars — Edna Best Mar. 10
Wuthering Heights — Oberon-Olivier-Niven Apr. 7
Zenobia — Hardy-Burke- Langdon-Brady Apr. 21
Captain Fury — McLaglen-Aherne-Lang (reset) ..May 26
Universal Features
(1250 Sixth Ave., New York, N. Y.)
A3001 Three Smart Girls Grow Up — Durbin . . . .Mar. 24
A3020 The Family Next Door — Herbert-Hodges. Mar. 31
A3006 East Side of Heaven — Crosby-Blondell Apr. 7
A3019 Code of the Streets — Carey (reset) Apr. 14
A3018 Big Town Czar — MacLane-Brown-Arden. .Apr. 21
For Love or Money — Lang-Kent Apr. 28
Ex Champ — McLaglen-Brown May 19
The Sun Never Sets — Fairbanks, Jr May 26
Inside Information — Lang-Foran June 2
They Asked for It — Whalen-Hodges June 9
House of Fear — Gargan-Hervey June 30
("Hawaiian Holiday" listed in the last Index as a May 18
release has been postponed to July 21)
Warner Bros. Features
(321 W. 44th St., New York, N. Y.)
321 The Adventures of Jane Arden — Towne Mar. 18
323 On Trial — Lindsay-Litel-Norris Apr. 1
304 Dodge City — Flynn-deHavilland-Sheridan ...Apr. 8
316 Women in the Wind — Francis-Gargan-Jory ..Apr. 15
322 Torchy Runs for Mayor — Farrell May 13
SHORT SUBJECT RELEASE SCHEDULE
Columbia — One Reel
9854 Screen Snapshots No. 4— (9^m.) Dec. 15
9505 The Kangaroo Kid — Color Rhapsody (7l/2m.) Dec. 23
98U3 King Vulture— Sport Thrills (10^m.) Dec. 23
9654 Community Sing No. 4 — (lO^m.) Dec. 30
9855 Screen Snapshots No. 5 — (9m.) Jan. 6
9753 Scrappy's Added Attraction — Scrappys
(bl/2 min.) Jan. 13
9961 A Night in a Music Hall— Music Hall
Vanities (11 min.) Jan. 20
9506 Peaceful Neighbors— Color Rhap. (8m.) ....Jan. 26
9804 Odd Sports— Sport Thrills (9l/2m.) Jan. 27
9704 Krazy's Bear Tale— Krazy Kat (7l/2m.) ....Jan. 27
9655 Community Sing No. 5 — (9l/2m.) Jan. 27
9553 Big Town Commuters — Tours (9m.) Feb. 3
9856 Screen Snaphots No. 6— (10m.) Feb. 17
9902 Washington Parade— Issue $2 (11m.) (re.). Feb. 21
9656 Community Sing No. 6 — (10>^m.) Feb. 24
9962 A Night at the Troc— Vanities (10^m.) Mar. 2
9754 Scrappy's Side Show — Scrappys (6^m.) ...Mar. 3
9857 Screen Snapshots No. 7 — (9>4xn.). Mar. 17
9805 Navy Champions — Sport Thrills (9^m.) ...Mar. 17
9657 Community Sing No. 7 — (10^m.) Mar. 24
9508 Happy Tots— Color Rhapsody- (S^m.) Mar. 31
9705 Golf Chumps— Krazy Kat (6^m.) Apr. 6
9858 Screen Snapshots No. 8— (9^m.) Apr. 8
9509 The House That Jack Built— Col. Rh. (7m.). Apr. 14
9806 Diving Rhythm— Sport Thrills Apr. 21
9658 Community Sing No. 8— (10^m.) Apr. 21
9755 A W'orm's Eye View — Scrappys (7m.) Apr. 28
9903 Washington Parade — Issue #3 (reset) May 12
9706 Krazy's Shoe Shop — Krazy Kat May 12
9859 Screen Snapshots No. 9— (9^m.) May 12
9659 Community Sing No. 9 May 19
9963 Yankee Doodle Home — Vanities May 19
9510 Lucky Pigs — Color Rhapsody May 26
9660 Community Sing No. 10 June 16
9184
9405
9185
9186
9430
9187
9188
9431
9189
9190
9406
9191
9192
9432
9193
9194
9433
9195
9141
9142
9407
9434
Columbia — Two Reels
The Falcon Strikes— G-Men 84 (16^m.) . . .Feb. 18
We Want Our Mummy — Stooges (16^m.) . .Feb. 24
Flight from Death— G-Men $5 (19m.) Feb. 25
Phantom of the Sky — G-Men #6 (\9l/2m.) ..Mar. 4
The Sap Takes a Rap — All star com. (16m.) .Mar. 10
Trapped by Radio — G-Men $7 (\$y2m.) Mar. 11
Midnight Watch— G-Men 88 (16^m.) Mar. 18
Boom Goes the Groom — All star com. (17m.). Mar. 24
Wings of Death— G-Men 89 (18m.) Mar. 25
Flaming Wreckage — G-Men 810 ( 17s/2m.) ..Apr. 1
A Ducking They Did Go — Stooges (16m.) . .Apr. 7
While a Nation Sleeps— G-Men 311 (17m.) . . Apr. 8
Sealed Orders— G-Men 812 (16Hm.) Apr. 15
A Star Is Shorn— All star (17m.) Apr. 21
Flame Island— G-Men 813 (17m.) Apr. 22
Jaws of Death— G-Men 814 (W/2m.) Apr.29
The Chump Takes a Bump — All star (18m.) .May 5
The Falcon's Reward — G-Men 815 (13m.) ..May 6
Shadow on the Wall — Mandrake the
Magician 81 (30 min.) May 6
Trap of the Wasp — Mandrake 82 May 13
Yes, We Have Bananas — Stooges (16m.) . . .May 19
Now It Can Be Sold— All star (16}4m.) . . . June 2
Metro-Gold wyn-Mayer — One Reel
K-923 The Story of Alfred Nobel-
Passing Parade (11 min.) Feb. 18
C-936 Tiny Troubles— Our Gang (10m.) Feb. 18
W-883 Jitterbug Follies— Cartoons (9m.) Feb. 25
S-906 Marine Circus— Pete Smith (tech.) (9m.). Mar. 11
C-937 Duel Personalities — Our Gang (10m.) ....Mar. 11
W-884 Wanted No Master — Cartoons (8m.) Mar. 18
F-955 An Hour for Lunch— Benchley (9m.) ....Mar. 18
K-924 Story of Dr. Jenner— Pass. Par. (10m.) . . .Mar. 18
T-858 Java Journey — Traveltalks (8m.) Mar. 18
M-877 Love on Tap— Miniatures (11m.) Mar. 18
S-907 Weather Wizards— Pete Smith (9m.) Apr. 8
C-938 Clown Princes — Our Gang (10m.) Apr. 15
W-885 The Little Goldfish— Cartoons 8m.) Apr. 15
T-859 Glimpses of Australia — Travel. (9m.) Apr. 15
T-860 Rural Hungary— Traveltalks (9m.) Apr.29
C-939 Cousin Wilbur— Our Gang (10m.) Apr.29
T-861 Picturesque Udaipur — Traveltalks (8m.) ..May 13
F-956 Dark Magic — Robert Benchley May 13
W-886 The Art Gallery— Cartoons May 13
M-878 Hollywood Hobbies — Miniatures (10m.) ..May 13
Metro-Goldwyn-Mayer — Two Reels
R-804 Somewhat Secret — Musicals (21m.) Mar. 25
R-805 Happily Buried— Musicals (20m.) Apr. 15
P-813 While America Sleeps — Crime Doesn't Pay
(21 min.) Apr. 15
Paramount — One Reel
T8-7 So Does an Automobile — Boop (6m.) Mar. 31
A8-9 Three Kings and a Queen— Head. (10^m.) . Apr. 7
P8-9 Paramount Pictorial 89— (9y2m.) Apr. 7
V8-9 Fisherman's Pluck — Paragraphic (9m.) ....Apr. 14
R8-10 Good Skates— Sportlight (9m.) Apr. 14
L8-5 Unusual Occupations 85 — (10m.) Apr. 14
C8-4 Small Fry — Color Classic (8m.) Apr. 21
E8-7 Leave Well Enough Alone — Popeye (5^m.).Apr. 28
A8-10 Paramount Presents Hoagy Carmichael —
Headlincr (9]/2 min.) ,. May 5
P8-10 Paramount Pictorial 810— (10m.) Mav 5
R8-11 Diamond Dust— Sportlight (9m.) May 12
T8-8 Musical Mountaineers — Boop (6m.) May 12
J 8-5 Popular Science 85 May 12
V8-10 Swans — Paragraphic (9m.) May 19
E8-8 Wotta Nitcmare— Popeye (7m.) May 19
K8-6 Jamaica — Color Cruises (9m.) May 26
A8-11 Tempo of Tomorrow — Headlincr June 2
P8-11 Paramount Pictorial 311 June 2
R8-12 Watch Your Step— Sportlight June 9
T8-9 The Scared Crows — Hoop cartoon June 9
94060
94207
94307
94109
94607
94110
94208
94308
94608
94111
94209
94309
94112
94609
94210
94310
94113
93107
93603
93704
93108
93403
93503
93109
93203
93705
93110
93405
RKO — -One Reel
Gold— Reelism (9m.) Feb. 10
Readin' Ritin' and Rhythm— NuAtlas (lOm.)Feb. 17
Snow Falls — Sportscope (9m.) Feb. 24
Practical Pig — Disney (8m.) .Feb. 24
Air Waves— Reelism (10m.) Mar. 10
Goofy and Wilbur — Disney cart. (8m.) Mar. 17
Samovar Serenade — Musical (10m.) Mar. 17
Sporting Wings — Sportscope (9m.) Mar. 24
Soldiers of the Sea — Reelism (9m.) Apr. 7
The Ugly Duckling — Disney cart. (9m.) . . .Apr. 7
Hello Mama — NuAtlas (11m.) Apr. 14
Big Leaguers — Sportscope (9m.) Apr. 21
Hockey Champ — Disney cartoon (7m.) . . . .Apr. 28
Television — Reelism (9m.) May 5
Arcade Varieties — NuAtlas (11m.) May 12
Smooth Approach — Sportscope (9m.) May 19
Donald's Cousin Gus — Disney (7m.) May 19
RKO — Two Reels
March of Time— (19m.) Feb. 17
Swing Vacation — Headliner (19m.) Feb. 24
Home Boner — Leon Errol — (20m.) Mar. 10
March of Time— (18m.) Mar. 17
ClockWise — Edgar Kennedy (16m.) Mar. 24
Ranch House Romeo — Ray Whitley (17m.). Apr. 7
March of Time— (19m.) Apr. 14
Dog Gone — Radio Flash (16^m.) Apr. 21
Moving Vanities — Leon Errol (17m.) :May 5
March of Time May 12
Baby Daze— E. Kennedy (15m.) May 19
Twentieth Century-Fox — One Reel
9303 Hunting Dogs— Sports (10j4m.) Mar. 3
9510 Gandy Goose in G-Man Jitters —
Terry-Toon (6% min.) Mar. 10
9105 Mystic Siam— Lowell Thomas (10m.) Mar. 17
9527 The Nutty Network— Terry-Toon (6^m.) . Mar. 24
9603 Fashion Forecasts No. 3— (9^m.) Mar. 31
9511 The Cuckoo Bird— Terry-Toon (6!/2m.) ....Apr. 7
9404 Muscle Maulers— Lew Lehr (10^m.) Apr. 14
9512 Their Last Bean— Terry-Toon (6}^m.) Apr. 21
9304 Inside Baseball— Sports (10K>m.) (re.) ....Apr. 28
9528 Barnyard Egg-Citement — Terry-Toon May 5
9205 Sand Hogs — Adv. News Cameraman May 12
9513 Nick's Coffee Pot— Terry-Toon (6^m.) . . . . May 19
9106 Good Neighbors — Lowell Thomas (reset) ..May 26
9514 The Prize Guest — Terry-Toon June 2
9107 Tempest Over Tunis — Lowell Thomas June 9
9515 Gandy Goose in a Bully Romance — T.-Toon June 16
9305 Sports Immortals — Sports June 23
9516 Africa Squawks — Terry-Toon June 30
A3358
A3250
A3371
A3359
A3251
A3252
A3372
A3253
A3360
A3254
A3373
A3255
A3361
A3374
Universal — One Reel
Going Places With Thomas 860— (10m.) . .Feb. 20
Birth of a Toothpick — Lantz cart. (7y2m.) .Feb. 27
Stranger Than Fiction 860— (9m.) Mar. 6
Going Places With Thomas 861— (9m.) . . .Mar. 13
Little Tough Mice — Lantz cart. (7m.) Mar. 13
One Armed Bandit — Lantz cart. (7m.) Mar. 27
Stranger Than Fiction 361 — (9m.) .......Apr. 3
Crack Pot Cruise — Lantz cart. (6'/>m.) . . . Apr. 10
Going Places With Thomas 862— (9m.) . . .Apr. 10
Charlie Cuckoo — Lantz cart. (7m.) Apr. 24
Stranger Than Fiction 862 — (9m.) May 1
Nellie of the Circus — Lantz cart. (7m.) ...May 8
Going Places With Thomas 863— (9^m.) . May 15
Stranger Than Fiction 8(>3 — (9m.) June 5
A3884
A3885
A3886
A3230
A3887
A3388
A3889
A3890
A3231
Universal — Two Reels
The Sky Patrol— Rogers U (20m.) May 2
The Phantom Plane — Rogers 85 (20m.) ..May 9
The Unknown Command — Rogers 86
(19 min.) May 16
Pharmacy Frolics — Mentone (18^m.) . . . .May 17
Primitive Command — Rogers 87 ( 19m.) . . . May 23
Revolt of the Zuggs — Rogers #8 (19m.) . . .May 30
Bodies Without Minds — Rogers #9 (19m.) .June 6
Broken Barriers — Rogers #10 (18m.) June 13
Swing Sanatorium — Mentone (18m.) June 14
NEWS WEEKLY
NEW YORK
RELEASE DATES
Vitaphone — One Reel
4506 Daffy Duck in Hollywood— Mer. Mel. (8m.) .Dec. 3
4705 Happy Felton & Orch.— Mel. Mast. (10m.).. Dec. 3
4304 Treacherous Waters — True Adv. (10m.) Dec. 10
4904 Robbin' Good— Vit. Varieties (10m.) Dec. 10
4805 Porky the Gob— Looney Tunes (8m.) Dec. 17
4507 Count Me Out — Merrie Melodies (7m.) Dec. 17
4706 Dave Apollon & Orch.— Mel. Mast. (11m.) . .Dec. 24
4508 The Mice Will Play— Mer. Mel. (7m.) Dec. 31
4605 Mechanix Illustrated #2— Col. Par. (10m.) ..Jan. 7
4305 Human Bomb — True Adv. (11m.) Jan. 7
4707 Clyde Lucas & Orch.— Mel. Mast. (10m.) ...Jan. 7
4806 The Lone Stranger & Porky — L. Tunes (7m.).Jan. 7
4509 Doggone Modern — Mer. Mel. (7m.) Jan. 14
4905 Ski Girl— Varieties (8m.) Jan. 14
4708 Blue Barron & Orch.— Mel. Mast. (8m.) . . . Jan. 21
4510 Ham-ateur Night— Mer. Mel. (8m.) Jan. 28
4807 It's an 111 Wind— L. Tunes (7m.) Jan. 28
4606 Points on Pointers — Color Par. (9m.) Jan. 28
4709 Jerry Livingston & Orch.— Mel. M. (10m.).. Feb. 4
4511 Kobinhood Makes Good — Mer. Mel. (8m.) ..Feb. 11
4306 High Peril— True Adv. (9m.) (re.) Feb. 18
4808 Porky 's Tire Trouble— L. Tunes (7m.) Feb. 18
4906 Gadgeteers— Varieties (11m.) Feb. 18
4607 Mechanix Illustrated 83— Color Par. (10m.) .Feb. 25
4512 Goldrush Daze — Mer. Mel. (7m.) Feb 25
4710 Russ Morgan & Orch.— Mel. Mast. (9m.) ...Feb. 25
4307 A Minute From Death— True Adv. (11m.) . .Mar. 4
4403 The Master's Touch— Tech. Spec. (9m.) ...Mar. 11
4513 A Day at the Zoo— Mer. Mel. (8m.) Mar. 11
4809 Porky 's Movie Mystery — L. Tunes (7m.) ..Mar. 11
4907 Tax Trouble— Varieties (11m.) Mar. 18
4712 Clyde McCoy & Orch.— Mel. Mast. (9m.) ..Mar. 18
4608 The Roaming Camera — Color Par. (9m.) . . .Mar. 25
4514 Prest-o Change-o — Mer. Mel. (7m.) Mar. 25
4308 Chained — True Adventure (11m.) Apr. 1
4810 Chicken Jitters — Looney Tunes (6^m.) ....Apr. 1
4515 Bars and Stripes Forever — Mer. Mel. (8m.). Apr. 8
4711 Dave Apollon & Orch.— Mel. Mast. (10m.).. Apr. 8
4909 The Crawfords 'At Home"— Varieties
(11 min.) Apr. 15
4811 Porky and Teabiscuit — L. Tunes (7j^m.) ...Apr. 22
4516 Daffv Duck & Dinosaur— Mer. Mel. (8m.) ..Apr. 22
4609 Mechanix Illustrated 84— (10m.) Apr. 22
4713 Artie Shaw & Orch.— Mel. Mast. (10m.) . . . .Apr. 29
4309 Voodoo Fire — True Adventures (12m.) Mav 6
4517 Thugs With Dirty Mugs— Mer. Mel. (8m.) .May 6
4812 Kristopher Kolumbus, Jr.' — L. Tunes (7m.) . .May 13
4610 For Your Convenience — Col. Par. (9m.) May 20
4714 Larry Clinton & Orch.— Mel. Mast. (9m.) ..May 20
4518 Hobo Gadget Band— Mer. Mel May 27
4910 Dean of the Pasteboards — Varieties ( 10m. ) . . May 27
(4908 "The Right Way" listed in the last Index as an April
15 release has been postponed)
Vitaphone — Two Reels
4020 Sundae Serenade — Bway. Brev. (17m.) Feb. 25
4022 Projection Room — Bway. Brev. (19m.) Mar. 4
4023 Home Cheap Home— Bway. Brev. (18m.) . . .Mar. 18
4024 A Fat Chance— Bway. Brev. (18m.) Mar. 25
4025 Rollin in Rhythm— Bway. Brev. (18m.) ....Apr. 15
4005 Sons of Liberty— Technicolor (21m.) Apr. 22
4026 Seeing Spots— Bway. Brev. (18m.) Apr. 29
4027 You're Next-To Closing— Brev. (18m.) ....May 13
Universal
771 Wednesday
772 Saturday . .
773 Wednesday
774 Saturday . .
775 Wednesday
776 Saturday . .
777 Wednesday
778 Saturday ..
779 Wednesday
780 Saturday ..
781 Wednesday
782 Saturday ..
783 Wednesday
.May 17
. May 20
. May 24
.May 27
.May 31
.June 3
. J une 7
June 10
June 14
June 17
. J une 2 1
. J une 24
June 28
Fox Movietone
71 Wednesday . . .May 17
72 Saturday May 20
73 Wednesday . . . May 24
74 Saturday May 27
75 Wednesday ...May 31
76 Saturday June 3
77 Wednesday ...June 7
78 Saturday June 10
79 Wednesday . . June 14
80 Saturday J une 17
81 Wednesday . . June 21
82 Saturday June 24
83 Wednesday ...June 28
Paramount News
82 Wednesday . . .May 17
83 Saturday May 20
84 W ednesday . . . May 24
85 Saturday May 27
86 Wednesday ...May 31
87 Saturday June 3
88 Wednesday ...June 7
89 Saturday June 10
90 Wednesday . . June 14
91 Saturday June 17
92 Wednesday ...J une 21
93 Saturday June 24
94 Wednesday ...J une 28
Metrotone
269 Wednesday
270 Saturday .
271 Wednesday
272 Saturday .
273 Wednesday
274 Saturday .
275 Wednesday
276 Saturday . ,
277 Wednesday
278 Saturday .
279 Wednesday
280 Saturday ..
281 Wednesday
News
..May 17
. . May 20
. . May 24
..May 27
..May 31
..June 3
..June 7
. June 10
. June 14
. June 17
. June 21
. June 24
..June 28
Pathe News
95286 Wed. (E.). May 17
95187 Sat. (O.).. May 20
95288 Wed. (E.) .May 24
95189 Sat. (O.).. May 27
95290 Wed. (E.). May 31
95191 Sat. (O.).June 3
95292 Wed. (E.) June 7
95193 Sat. (O.). June 10
95294 Wed. (E.).June 14
95195 Sat. (O.).June 17
95296 Wed. (E.) June 21
95197 Sat. (O.).. J une 24
95298 Wed. (E.) June 28
Entered as second-class matter January 4, 1921, at the post omc« at New York, New York, under the act of March 3, 1*79.
Harrison's Reports
Yearly Subscription Rates: 1270 SIXTH AVENUE Published Weekly by
United States J1S.00 p__ 1 Ol O Harrison's Reports, Inc.,
U. S. Insular Possessions. 16.59 KOOm 1SU Publisher
pinada 16 50 New York, N. Y. p. s. Harrison, Editor
Mexico, Cuba, Spain 16.50 . „ _ ^ _ ,
Great Britain 15 W ^ Motion Picture Reviewing Service
Australia, New Zealand, Devoted Chiefly to the Interests of the Exhibitors Established July 1, 1919
India, Europe, Asia .... 17.50
35c a Cony Its Editorial Policy: No Problem Too Big for Its Editorial Circle 7-4622
Columns, if It is to Benefit the Exhibitor.
A REVIEWING SERVICE FREE FROM THE INFLUENCE OF FILM ADVERTISING
Vol. XXI SATURDAY, MAY 27, 1939 No. 21
DEMAND AS FAIR A TREATMENT AS
EXHIBITORS OF OTHER TERRITORIES
ARE RECEIVING!
As a result of my comment on Variety's report about the
distributors' decision to charge to the exhibitors live-and-
let-iive prices the coming season, which report was cor-
roborated by a letter from Mr. Steffes printed in the fol-
lowing week's issue of this paper (May 1.5), I have re-
ceived from some exhibitors letters informing me tiiat the
salesmen of their territories are asking even bigger prices
for next season's product than they asked last summer for
the current season's.
I am not surprised that they are asking such prices. It
has never been known for all the sales forces of a company
to obey home office instructions to the letter ; some of them
always try to disregard them, their sole object being to
show bigger sales if possible, regardless whether the ex-
hibitors can or cannot stay in business.
Let me cite an illustration that will bring this tendency
out more vividly : You know that some of the companies
have decided to adopt the trade practices code at once in-
stead ot waiting for its ratification by the exhibitors ;
and they have issued instructions accordingly. What do
you think has happened!'' In some zones these instructions
have been disregarded : In the matter of cancellations, the
salesmen of the same companies have told the exhibitors
that their film bill will be increased twenty per cent this
year in order that they may pay for film the same amount
of money after cancelling 20% of the pictures the)- had con-
tracted for as they paid last year. In the matter of no play-
date designation on pictures with a minimum guarantee, the
exhibitors have been told that the distributors will either
refrain from asking a minimum guarantee on pictures they
designate on Saturdays and Sundays, or will increase the
number of percentage pictures. In the matter of score
charges, they will add the usual amount to the film rental.
Do you blame the exhibitors for having lost faith in the
distributors ?
I am calling your attention to such a disregard of home
office instructions with the object of encouraging you to
demand that you receive the same treatment as the exhibi-
tors in other territories. Not only should you obtain your
next season's film at lower prices than you paid for this
season's product, but you should also demand a reduction
in the price of whatever pictures you are still to play out
uf this season's product. You are entitled to a reduction,
for business conditions just now are "terrible." The drop
in business from last season's level is no less than 30%,
and, in some cases, as high as 60%, And there is hardly
any hope of immediate improvement. Authority for this
statement is none other than Mr. Joseph M. Schenck him-
self, chairman of the board of directors of Twentieth
Century-Fox ; he was quoted in the May 10 issue of the
Film Daily as follows :
"Schenck foresees no immediate return to 'good' theatre
business throughout the country until world conditions be-
come more settled, although he expects a general improve-
ment this year, due to the quality of the forthcoming Holly-
wood product."
In other words, this optimistic improvement of theatre
business will, since the world conditions arc still bad anil no
one knows how much worse they may become, depend
entirely on the quality of the pictures that I lolls wood will
produce; and, if what Hollywood has shown us since Janu-
ary is any criterion, there will be no improvement, for I have
never in my career seen worse pictures. Hollywood seems to
have lost the "knack" of making good pictures.
It seems to me as if the picture business has reached the
low level of the expiring days of the silent pictures in 1926
and 1927. At that lime, the industry was saved by the mir-
acle of the talking pictures. W hat miracle can save the
industry now? Not even good pictures can do much to help
it, for at this time there are so many more divertissements
than there were in 1927 ! Radio has made a marvellous
progress since that time ; a person can sit in the comforts
of his home and listen to fine programs, the choice of his
desire, at no cost to him. And there are many others.
The industry must do many things besides producing
meritorious pictures to recapture public patronage. These
will be discussed in a forthcoming issue. In the meantime,
demand that, in the matter of obtaining film, ycu be given
as fair a treatment as the exhibitors of other territories ;
or, better yet, refrain from buying until after the Allied
convention, for in Minneapolis you will receive enough
information to enable you to determine what your film
purchasing policy for the 1939-40 season should be.
WHY CAN'T THE DISTRIBUTORS
BE CONSISTENT?
From the day there appeared to be a gulf between the
distributors and Allied on what concessions the distributors
should grant to the exhibitors, the distributors let it be
known, through the trade press, that they would put the
reforms in force "with or without the consent of the Allied
leaders." But now they seem to have changed their mind.
According to the May 15 issue of Motion Picture Daily,
the trade pact is beset with obstacles ; the arbitration set up
seems to be the stumbling block. The following is part of
what that paper says :
"A canvass of distribution companies late last week re-
vealed considerable indecision among sales executives as to
whether or not they would be willing to put the other
phases of the trade program into effect by incorporating
th em in exhibition contracts in the event the arbitration
efforts failed to produce results."
What really underlies their change of mind is their un-
willingness to grant the 20% cancellation right; they feel
that, under such a provision, their profits will vanish.
The distributors have become so set with the idea that
the elimination of block-booking will prove injurious to
their interests that they see ghosts.
ALLIED CONVENTION CREATING
EXCITEMENT
As the date set for the Allied convention in Minneapolis
is approaching, the interest of the entire motion picture
industry to it is heightened. This is evidenced by the num-
ber of hotel reservations that have already been made. Mr.
Steffes reports that every room in the Nicollet Hotel has
been taken, and reservations are now made in other of the
best hotels in that city.
If you have not yet made your reservations, wire to Mr.
W. A. Steffes, in care of World Theatre. Minneapolis, at
once.
Of course, Mr. Steffes will always be able to find room
for every one who will attend, but he cannot guarantee you
choice rooms unless you telegraph your request at once.
You must remember that it will not be exhibitors alone that
the Minneapolis hotels have to take care of; people of other
businesses travel there, particularly at this time of the year.
It is going to be a memorable convention and you cannot
afford to miss it.
82
HARRISON'S REPORTS
May 27, 1939
"Inspector Hornleigh" with Gordon Harker
and Alastair Sim
(20//; Century-tax, April 21 ; time, 75 min.)
This British-made picture can be recommended only for
the most ardent followers of murder mystery melodramas,
since the murderers identity is well concealed until the
end ; otherwise, it has little appeal for the average Amer-
ican audience, tor one thing, the players neither are known
here nor do they give outstanding performances. Futher-
more, their speech is at times difficult to understand. An-
other thing against it is the fact that the story is developed
for the most part by dialogue instead of by action. A mild
romantic interest is worked into the plot : —
While working on a murder case involving the death of
a hotel porter, Cordon Harker, Scotland V ai d Inspector,
discovers that a suitcase belonging to the murdered man
was missing. When lie eventually locates it, lie finds in it,
to his amazement, the budget bag belonging to the Chan-
cellor of the Exchequer. Upon checking with the Chan-
cellor and learning that he had his bag, Harker realizes
that the second bag was undoubtedly used by some one as a
means by which to get the budget secrets ; they had switched
the bags while the Chancellor had been dining, copied the
information, and then returned the original bag. Since it
was too late for the Chancellor to change his budget plans,
the contents of which gave an opportunity to the one who
had read it to make a financial coup, Harker knows he had
to solve the case quickly. During his investigation two
more men are killed. Several persons are under suspicion.
He finally confronts the men involved in the plot, and
proves that the murders had been committed by a hotel
porter-, who had stumbled upon the plot and wanted the
information for himself.
Bryan W allace wrote the screen play and Eugene Forde
directed it. In the cast are Miki Hood, Wally Patch, Steve
Geray, and others.
Unsuitable lor children. It is all right for adolescents and
adults. Suitability, Class B. Tempo, somewhat slow be-
cause of too much dialogue.
"Stolen Life" with Elisabeth Bergner
and Michael Redgrave
(Paramount, May 26; time, 87 min.')
This British-made drama is an artistic achievement,
but its appeal will be limited to theatres in large cities,
and at that to class audiences. They should be inter-
ested, not only in the engrossing story and intelligent
dialogue, but also in the excellent performances, as
well as in the lavish background. Miss Bergner, play-
ing a dual role, surpasses previous performances; she
makes one feel as if the two persons she portrays are
separate and distinct characters, entirely different from
each other except in looks. Although the action holds
one absorbed, it is doubtful if the masses will appreciate
the picture, for the plot is unfolded in a slow manner;
this is so particularly in the closing scenes.
The story revolves around twins, Martina and Syl-
vina Lawrence (both played by Miss Bergner). Mar-
tina is serious and honest, while Sylvina is flirtatious,
callous, and selfish. Martina meets Alan McKenzie
(Michael Redgrave), a mountain-climbing explorer,
and the two soon fall in love with one another. Acci-
dentally he meets gav Sylvina and. thinking her to be
Martina, expresses his love for her. When he finds out
tue trutn, he is too enamored of Sylvina to give her up;
he marries her, to the despair of Martina. During Mc-
Kenzie's absence, Martina visits her sister; they go out
boating. A storm breaks and the boat capsizes; Sylvina
drowns. Martina is rescued. Everyone believes she is
Svlvina, for she was found clutching a marriage ring
in her hand; it was her sister's ring, which had slipped
into her palm while she was trying to hold on to her
sister's hand. She continues to let everyone believe her
Sylvina. To her horror, she learns that her sister had
been having an affair. Her father, who discovered the
deception, warns her of the danger. When McKenzie
returns, she is shocked to learn that he knew about the
a (fair and, thinking her to be his wife, wanted to di-
vorce her: it is then that she learns that it was really
she herself whom he loved. She naturally tells him the
truth. The true lovers are, therefore, united.
The plot was adapted from the novel by K. J. Benes.
Margaret Kennedy wrote the screen play; Paul Czin-
ner directed and produced it. In the cast are Wilfrid
Lawson, Mabel Terry Lewis, Richard Ainley, and
others.
Not for children or adolescents; good adult fare.
Suitability, Class B. Tempo, slow.
"Some Like It Hot" with Bob Hope
and Shirley Ross
(Paramount, May 19; time, 04 min.)
Mild entertainment, the story, in addition to being trite,
is sluw-moving. One or two situations manage to piovoke
laughter ; this effect is owed to the clowning by Bob Hope.
But, aside from that, there is little else to recommend it,
for the action and dialogue lack freshness. The presence in
the cast of Cene Krupa and his band may serve as a lure
for young "jitterbug" fans; as a matter of fact, they will
be the only ones who will enjoy the music lie plays. The
romance is routine : —
Bob Hope, manager of a midway attraction, finds himself
without funds and with a disgruntled group of musicians.
He tries to convince Bernard Nedell, owner of the midway,
that Krupa's band was good enough to play at his dance
palace, but Nedell, having no faith in Bob, refuses to listen
to him. Bob meets and talis in love with Shirley Ross, a
singer, who had placed her faith in him. Knowing he had no
money, she gives him a ring she owned, asking him to use it
to buy material for an act. Bob, in an effort to double his
money, loses the ring to Nedell in a dice game ; he does the
same thing with a song both he and Miss Ross had written.
Krupa and his band, having been put out of their quarters,
start playing on the boardwalk and immediately attract a
crowd of dancers. Nedell, realizing that the band was good,
offers to sign them up with Miss Ross as singer, but with-
out Bob. At first Miss Ross refuses, but when she learns
what Bob had done with the ring and song, she agrees. Bob
leaves; later he works at low jobs. Eventually he returns
and is reconciled with Miss Ross, who convinces Nedell
that Bob would make a good master of ceremonies.
Ben Hecht and Cene Fowler wrote the story. George
Archainbaud directed it. In the cast are Una Merkel, Rufe
Davis, 1 larrv Barris, and others.
Suitability, Class A. Tempo, rather slow.
"Only Angels Have Wings" with Cary Grant
and Jean Arthur
(Columbia, May 26; time, 120 min.)
A powerful melodrama, centering around commercial
aviation ; it is a thriller for those who enjoy aviation pic-
tures. Some of the situations are, however, extremely har-
rowing. One such situation (but one that holds the specta-
tor in tense suspense) is that in which Noah Beery, Jr.,
flying in the fog, attempts to land by means of radio direc-
tions given to him from the field by Cary Grant, his chief.
One realizes the hopelessness of the attempt ; consequently,
one feels deep sympathy for the flier, who eventually
crashes. Another such situation is that in which a pilot, in
spite of the fact that his plane was on fire and he was
burned, flies it to the landing field. The photography in the
air scenes is exceptional. Even though processed shots are
used for the background when the different characters are
supposed to be flying, the effect is so realistic that one feels
as if the actors were actually piloting the planes.
The story itself is routine; it revolves around a group of
adventurous men, headed by Grant, who worked against
the most difficult odds in an effort to build up a commercial
airline from a small port in South America to the interior.
To this center comes Jean Arthur, a showgirl, who was on
her way back to the States. Her boat had stopped at the
port for a few hours and she had decided to see the sights.
She becomes acquainted with two pilots, and later meets
Grant, with whom she falls deeply in love. The death of a
young pilot and the casual way his friends accept it depress
her. But Grant explains to her that, unless the men acted
that way, they would go mad. She purposely misses her
boat, which annoys Grant. Although he had become at-,
tracted to her, it was one of his ruies not to ask favors of
any women. Upon the arrival of Richard Barthelmess, a
pilot who had been blackballed because he had once jumped
from his plane leaving his mechanic to crash, things begin
to happen, for the brother (Thomas Mitchell) of the dead
mechanic was one of Grant's pilots. Eventually Barthel-
mess, under dangerous conditions, proves his worth even to
Mitchell, who dies after an accident. Grant leaves for the
last important flight before the airmail contract could be
assured. In a subtle way he asks Miss Arthur to wait for
him ; she is overjoyed.
Howard Hawks wrote the story, directed and produced it.
Jules Furthman wrote the screen play. In the cast are
Rita Hayworth, Sig Ruman, Victor Kilian, John Carroll,
Allyn Joslyn, and others.
Suitability, Class A. Although the tempo is not fast, the
action holds one's interest well.
May 27, 1939
HARRISON'S REPORTS
83
"Captain Fury" with Brian Aherne, Victor
Mc La. glen and June Lang
{United Artists, May 26; time, 91 min.)
Good for the action-melodrama fans, particularly for
those in small towns. It is a typical western melodrama,
with lights, shooting, and fast horseback riding, the only
change being in tiie locale — the action takes place in
Australia. It lacks the full measure of excitement of
"big" westerns, in spite of the fact that the production
values are good and the acting competent. This is caused
by the lack of novelty in the plot development, and by the
repetition of situations showing the hero and bis men
rushing to the rescue of terrorized ranchers. The ease
with which the hero accomplishes his work is at times
too far-fetched. On occasion, the action provokes
laughter due to the antics of Victor McLaglen. The
romance is pleasant: —
Brian Aherne, a political prisoner, arrives in Aus-
tralia with other convicts to serve his time at hard
labor. Geroge Zucco, an avaricious land owner who
dreamed of developing an empire for himself, takes
Aherne and other prisoners to work for him. Aherne,
unable to bear the cruelties inflicted on the prisoners,
escapes and hides at the ranch house in which Paul
Lukas lived with his daughter (June Lang). Lukas
orders him out. But Aherne, hearing of the tortures
Zucco was inflicting on the ranchers so as to force
them out, offers to fight for their cause. Lukas, a stern
moralist, pleads with the ranchers not to accept
Aherne's help, but they disregard his advice. With their
help, Aherne releases a few prisoners, including Mc-
Laglen. The band, headed by Aherne, outwits Zucco
and his men each time they attempt to harm ranchers.
In the meantime, the Governor-General, having heard
about Aherne, travels to the interior to find out for
himself what was happening. Zucco's men imprison
Lukas. They then try to prove that the charred body
of a man found in Lukas" burned house was that of
Lukas, and that Aherne had committed the murder;
the dead man was really one of Zucco's gang, who had
gone there to steal Lukas' money. The timely arrival
of the Governor-General and the presence of Lukas,
who had escaped, save Aherne's life. He, McLaglen
and one other prisoner, are pardoned, the others having
been killed. Zucco is forced out, and the ranchers are
guaranteed protection. Lukas begs Aherne's forgive-
ness and gives his consent to the marriage of his
daughter to Aherne.
Grover Jones, Jack Jevne, and William DeMille
wrote the screen play, and Hal Roach directed and
produced it. In the cast are John Carradine, Douglas
Dumbrille, Virginia Field, Charles Middleton, Lums-
den Hare, and others.
Suitability, Class A. Tempo, fairly fast.
"Ex-Champ" with Victor McLaglen,
Tom Brown and Nan Grey
{Universal, May 19; time, 72 min.)
Mild program fare. Its appeal should be directed almost
exclusively to men, young as well as old, because the action
and dialogue are concerned mostly with prizefighting. The
father-love angle is hardly appealing since the son, for
whom the father makes many sacrifices, is unworthy ; one
feels as if the father was wasting his time. Moreover, the
father's actions of attempting in the end to betray one who
had trusted him, just to make easy money for his son, who
had lost on the stock market money belonging to a client,
are hardly pleasurable. The romance is appealing but of
little importance : —
Victor McLaglen, a former tri-state boxing champion, is
proud of his son (Donald Briggs), having sacrificed a
great deal to send him through college. But McLaglen's
daughter (Nan Grey) knows how ungrateful Briggs was.
McLaglen, who had not lost his interest in fighting, takes
under his wing Tom Brown, an ambitious boxer. In the
meantime, Briggs marries a society girl (Constance
Moore), without telling her anything about his family; he
does not even invite his father or sister to the wedding.
McLaglen decides to train Brown, who had shown good
possibilities; he finally arranges for him to fight the cliam-
p;on. It is then that he learns that Briggs had lost on the
stock market not only his own money but also money that
had been entrusted to him by a client. McLaglen asks
Briggs to borrow $30,000, which he would bet against
Brown; he promises to see to it that Brown does not win.
But through no fault of his the plans fall through. He is
overjoyed when he learns that his pal (William Frawley),
to whom he had given the money to bet, had bet it on
Brown. Briggs begs for forgiveness, and everything is ad-
justed. Miss Grey marries Brown.
Gordon Kahn wrote the story, and Alex Gottlieb and
Edmund L. Hartinann, the screen play ; Phil Rosen di-
rected it, and Burt Kelly produced it. In the cast are
Samuel S. Hinds, Thurston Hall, and others.
The actions of both Briggs and his father are not parti-
cularly edifying for children; suitable for adolescents and
adults. Suitability, Class B. Tempo, somewhat slow.
"Tell No Tales" with Melvyn Douglas
and Louise Piatt
(MGM, May 12; time, 09 min.)
A fast-moving, tensely exciting program melodrama.
Capably acted and directed, it is the type of entertainment
that should hold the interest of nearly any type of audience.
Not that the story itself is novel ; it is the intelligent way in
which it has been handled. Situations that might, in other
pictures, seem far-fetched, appear here to be logical. An-
other thing in the picture's favor is that, the development of
the plot, instead of being done by dialogue, is acted out. A
romance is hinted at : — ■
Melvyn Douglas, editor of a reputable newspaper, is
shocked when the publisher (Douglas Dumbrille) informs
him that he had decided to discontinue publishing the paper.
He offers Douglas a job on his tabloid newspaper, which
Douglas turns down. But that very night Douglas comes
upon a lead in a kidnapping case that had puzzled the
police — a hundred dollar bill bearing one of the numbers of
the ransom money. By careful questioning, Douglas is able
to trace the bill to the original dispenser. But his efforts
endanger his life, as well as that of Louise Piatt, a young
school-teacher, who had been a witness to the kidnapping.
Eventually he traps the kidnappers ; but, before turning
them over to the police, he rushes through an extra in his
own newspaper. It naturally creates a sensation. Dumbrille,
realizing his mistake, orders the newspaper to continue
with Douglas as its editor. Miss Piatt gives up her school
position to work on the newspaper so as to be near Douglas.
Pauline London and Alfred Taylor wrote the story, and
Lionel Houser, the screen play ; Leslie Fenton directed it,
and Edward Chodorov produced it. In the cast are Gene
Lockhart, Florence George, Halliwell Hobbes, Zeffie Til-
bury, Harlan Briggs, and others.
Not suitable for children. Adolescents and adults should
enjoy it. Suitability, Class B.
"Boy Friend" with Jane Withers,
Arleen Whelan and Richard Bond
( 20th Century-Fox, May 19 ; time, 72 min.)
Strictly for the juvenile trade and for Jane Withers'
fans, for she appears almost throughout. Adults may be
bored, because the action is so far-fetched. For instance,
Jane and another youngster are shown solving a mystery
that had baffled the police. As usual, she provokes laughter
by the way she interferes in everything, thereby involving
those who try to help her. Another cause for laughter is her
first puppy love affair. The closing scenes, where the gang
is rounded up, are fairly exciting : —
Jane, whose mother ran a boarding house for police rook-
ies, is delighted when George Ernest, younger brother of
one of the rookies, arrives from military school for a visit.
To win his attention, she pretends to put on airs. Everyone
is heartbroken when Ernest's brother is killed while trying
to prevent a robbery at a fur house. To add to Jane's woes,
her brother (Richard Bond) resigns from police school,
preferring to join a gang headed by Douglas Fowley ; it
was this gang that had been responsible for the death of
Ernest's brother. But no one knows that Bond was really
working for the police in an effort to get evidence agaiuM
the gang. Jane and Ernest stumble onto the facts. They find
the Stolen furs hidden in the basement of a night club from
which Fowley operated. In the meantime, Fowley finds out
about Bond's connection with the police and plans to kill
him. But quick thinking on the part of Jane saves Bond's
life. The gang is rounded up. Bond goes back to the police
school, to the joy of Arleen Whelan, his fiancee.
Lester Ziffen and Louis Moore wrote the story, and
Joseph Hoffman and Barry Trivers, the screen play; James
Tinling directed it, and John Stone produced it. in the
cast arc Warren Hytner, Robert Kellard. Minor Watson,
and others.
The fact that the gangsters are not glorified makes it
suitable for children. Suitability, Class A. Tempo, fairly
fast.
84
HARRISON'S REPORTS
May 27, 1939
METRO-GOLDWYN-MAYER
FORECASTS
(Continued jroin last week's issue)
"A LADY COM ES TO TOWN," the Clements Ripley
short novel, with Juan Crawford. A domestic drama, in
which the heroine has a quarrel with her mother because
she wanted to marry against her wishes, follows the man
she loved and, when she finds out that he was a derelict,
tries to get a job, is helped by a gambler, whose mistress
she eventually becomes. She discovers a silver mine, and
she and the gambler marry.
Comment : The characters are unsympathetic, and there
is very little of the action that arouses one's interest.
Forecast : Unless the material is altered radically, the
picture will undoubtedly turn out poor.
"LADY OF THE TROPICS," with Robert Taylor
and Hedy LaMarr, a romantic melodrama dealing exten-
sively with sex affairs, showing the hero marrying the
mistress of a banker (heroine). The banker frames him on
a murder charge. Hut he goes crazy and blurts out the
truth. The story unfolds in Saigon, Indo-China.
Forecast: It is doubtful whether a picture based on this
story could make an entertaining picture. As for its box-
office possibilities, not even Robert Taylor's popularity can
help a poor picture much.
"THE LADY AND THE WAITER," the play by
Dorothy Milhau, a romantic comedy revolving around the
subduing of a spoiled society girl, with the girl's mother
having a hard time keeping her daughter from falling in
love with different men.
Comment : Light comedy material, with pretty fast action.
Forecast : The story should make a good program picture.
"LOVER COME BACK TO ME," the play "New
Moon," by Sigmund Romberg, with Jeanette MacDonald
and Xelson Eddy, a romantic melodrama with music, un-
folding during the reign of King Louis XVI.
Comment: Although this story was produced in 1930,
under the title "New Moon," the present story has been
altered to such an extent that it fits the stars extremely
well, for it gives them an opportunity to sing. MGM in-
tends, no doubt, to produce it in technicolor.
Forecast : It should turn out a very good entertainment,
with good to very good box-ofhee results.
"MADAME CURIE," the biography of the famed scien-
tist by Eve Curie, her daughter, with Greta Garbo as
Madame Curie.
Comment : There is much human-interest material in
this story. The sacrifices of Madame Curie and of Mr.
Curie, her husband, discoverers of radium — the nobleness
of these two people to help mankind, should move the heart
of every one. It should appeal to men as well as women ;
and even to children.
Forecast : The picture will, no doubt, turn out to be
excellent, and since the book has been read widely, and, in
addition, the story ran serially in the Ladies' Home Journal,
it should have excellent results at the box office.
"MAY FLAVIN," the novel by Myron Brinig, a drama
of a woman who is deserted by her husband, leaving her
alone with her six children, and who, starting out from
poverty-stricken surroundings, ends up with a luxurious
home in Hollywood.
Comment : There are enough doings to hold one's atten-
tion tensely. May is a sympathetic character — she is the
eternal sacrificing mother. But Flavin is unsympathetic. As
to the children, some of them are good whereas some bad.
Forecast: MGM will, no doubt make suitable alterations
in situations as well as characterizations. If so, the picture
should turn out good or very good in quality, the box-office
results depending on the leads.
"NICKEL SHOW," a story by Vera Caspary, dealing
with the development of moving picture theatres from
nickel shows to palaces. A triangle drama is interwoven in
the plot.
Comment : An ordinary story, in which the heroine is
unsympathetic, because she does not value a good husband ;
she prefers to keep up a romance with a man who proves
himself to be unworthy of her.
Forecast: A "B" type picture, for double bills.
"NINOTSHKA," a comedy-melodrama, the story by
Melchior Lengyel, with Greta Garbo, to be produced by
Ernst Lubitsch. The heroine is a representative of Soviet
Russia. She is sent to Paris to negotiate a trade agreement.
is invited to his home by a count, who is a professional
lover, but charming. The agreement is not consummated,
and she is recalled ; it is eventually consummated in Mos-
cow. The two find that they love each other.
Comment : Not much to the story.
Forecast : Because of the fact that Greta Garbo will be
in the leading part and Ernst Lubitsch will direct it, no
doubt the Storj will be altered considerably. It may turn
out good or very good in quality, with similar box-office
results.
"NORTHWEST PASSAGE," the Kenneth Roberts
novel, a best seller, with Robert Taylor, Spencer Tracy and
W allace Beery, an adventure melodrama, a period story,
unfolding in London and in America in the after-revolu-
tionary days.
Comment: There is plentiful action in this story, consid-
erable human appeal, and a charming romance.
Forecast : The story should make a very good picture.
As to its chances at your box office, it will depend on
whether costume pictures are or are not popular.
"NOT TOO NARROW, NOT TOO DEEP," the novel
by Richard B. Sale, a melodrama of primitive passions and
of religious faith that performs sort of minor miracles. To
star Joan Crawford and Spencer Tracy The story deals
with convicts who had escaped from Devil's Island. One of
them had been jailed for manslaughter; another was a
petty thief who had turned homosexual for protection, a
brute becoming his protector ; one is a tubercular American
professor ; one, a Frenchman, who had been sent to the
island for raping children ; one had murdered his wife.
Comment : The book is powerful, but the action a mixture
of revolting things and of religion. MGM will, no doubt,
alter the situations as well as the characterizations radically
since it has announced two outstanding stars in the leads.
Forecast : With alterations, it should turn out a powerful
melodrama, with good to very good box-office possibilities.
"ON BORROWED TIME," Paul Osborn's stage play,
which was founded on the novel by Lawrence Edward
Watkin ; it is to star Lionel Barrymore, Sir Cedric Hard-
wicke, and Bob Watson. It is a fantasy about death, with
the action allegorical.
Comment : The play was highly successful in New York,
playing for ten months. There is pathos, and the interest is
tense throughout. Most of the sympathy goes to the young
boy, the part having been played on the stage by Peter
Holden, who appeared in RKO's "The Great Man Votes."
Forecast : There is no question that the picture will turn
out an artistic achievement. Whether, however, it will be
successful at the box office to a similar degree it is hard to
tell. As a rule, pictures whose themes are death have so far
failed at the box office. "Peter Grimm," for example ; and
"Outward Bound," and "Liliom," and "Earthbound," and
others. "Death Takes a Holiday" has been a partial excep-
tion : in some spots it did well, whereas in some others it
did poor business. Perhaps the good results in some spots
were owed to Fredric March, who was at the height of his
popularity at that time. At any rate, MGM will, no doubt,
make a creditable production with it.
"ROSARY," the play by Edward E. Rose, dealing with
a hero, who met the heroine while passing by a church and
hearing her sing "The Rosary" ; they soon marry. There
are several misunderstandings, but all these are removed in
the end.
Comment : The story was produced by First National
in 1922. It is old-fashioned material, but it could be im-
proved by proper alterations in characterizations as well as
in structure.
Forecast : Since the material lends itself to alterations,
MGM should make with it a picture either good or very
good in quality. The title is good for the box office, which
could be helped very much if the leading parts should be
given to popular players.
"RUINED CITY," dealing with a London banker's sac-
rifice to help a community. From the Nevil Shute story
"Kindling." Most of the background is that of a fictitious
country.
Forecast : The story is somewhat prosaic, the best feature
of it being the hero's determination to help other people, in
gratitude of his having regained his health, which had gone
to pieces when he had learned that his wife had relations
with a man who was not of the white race. The action is
fairly fast.
Forecast : MGM will, no doubt, eliminate the relationship
of the hero's wife with a non-white man. If so, the story
should make a fairly good program picture.
Entered as second-class matter January 4, 1921, at the post ofRee at N«w York, New York, under the act of March 3, 1879.
Harrison's Reports
Yearly Subscription Rates: 1270 SIXTH AVENUE Published Weekly by
United States $16.00 p , ot o Harrison's Reports, Inc.,
U. S. Insular Possessions. 16.50 KOOHl lOl^l Publisher
Canada 16.50 New York, N. Y. P. S. HARRISON, Editor
Mexico, Cuba, Spain 16.50 . ,_ :_. . „ . _
Great Britain 15.75 A Motion Picture Reviewing Service . ....
Australia, New Zealand, Devoted Chiefly to the Interests of the Exhibitors Established July 1, 1519
India, Europe, Asia .... 17.50
„r„ „ /-nr,v Its Editorial Policy: No Problem Too Big for Its Editorial Circle 7-4622
" vy Columns, if It is to Benefit the Exhibitor.
A REVIEWING SERVICE FREE FROM THE INFLUENCE OF FILM ADVERTISING
Vol. XXI SATURDAY, JUNE 3, 1939 No. 22
LET THERE BE ANOTHER GREATER
MOVIE SEASON CAMPAIGN
"Suggestions made recently by Spyros Skouras for the
need of another united industry drive for patronage," says
John C. Flinn, in the May 24 issue of weekly Variety,
"seem timely at the moment when the nation's box-office is
entering the seasonal summer doldrums. Skouras was the
principal proponent of the industry's drive last autumn,
and an enthusiastic supporter of the group that believed
the ultimate aims of that campaign were attained."
This paper wishes to go on record as being in favor of
another such campaign, for it believes that, despite the mis-
takes of last year's campaign, the industry as a whole bene-
fitted. More than six hundred editorials favoring and boost-
ing the campaign appeared in the dailies of the nation. And
who can say that these editorials did not do an immense
amount of good? Before the campaign, columnists were
maligning the industry, and many newspapers were taking
a ghoulish joy in "ribbing" it. As soon as the campaign
started, all that stopped, and lauding took its place.
Exhibitors and producer-distributors may have their dif-
ferences, the result of diversity of interests ; but no one can
disagree, on either side, when it comes to working up among
the public an interest to attend motion pictures, for then
both producer-distributors and exhibitors benefit.
This year the reasons for such a campaign are not exactly
the same as the reasons for last year's. Last year the busi-
ness was shot to pieces because of the ill feeling that had
been created against the industry by the radio commenta-
tors and by some of the newspapers ; this year, the picture
business has reached the lowest in years because of general
business conditions, on the one hand, and the general poor
quality of pictures, on the other, compelling the public to go
to the picture theatres only when some outstanding produc-
tion is shown.
A movie campaign by a united industry is needed more
this year than was needed in any other past year, for an-
other reason — to prevent the public from becoming aware
of the mood of the exhibitors. Every exhibitor is disheart-
ened, but he should not let the public gain knowledge of that
feeling; otherwise, more people will keep away from the
theatres.
It is understood, of course, that in the new campaign the
mistakes of the old campaign will not be repeated. The
"Movie Quiz" contest will be left out, naturally, and care
will undoubtedly be taken to avoid a repetition of other mis-
takes. Last year's experience should prove a teacher.
NEW YORK STATE UNIT IN FULL
ACCORD WITH NATIONAL BODY
For several days before the New York State Allied unit
held its convention, there appeared in the trade papers
news items to the effect that the New York State unit, of
which Mr. Max Cohen, an owner of several theatres in this
city, is its president, was not in full accord with the policies
and methods of the national body.
Judging by the kind of resolution the New York State
unit passed unanimously at its convention, which was held
in this city last week, one learns that those statements were
not authorized ; they were merely the deductions of the
trade paper reporters.
The following is the resolution :
"WHEREAS, the Allied States Association of Motion
Picture exhibitors has fought consistently and successfully
for the welfare of the independent exhibitors; and
"WHEREAS, the National Board of Directors of
Allied, at their annual meeting in Washington, January
17th, 1939, unanimously adopted the following resolution
regarding Trade Practice Proposals and the future policy
of the National body :
" 'After thorough study of the proposals submitted, and
presupposing that legal and workable wording of such pro-
posals can be evolved, the Board nevertheless feels that such
proposals fall far short of curing the industry evils of which
Allied and the independent exhibitors have complained. The
Board therefore reiterates the stand taken in its former
resolution that nothing in any plan which may be reported
shall in any way hinder or preclude Allied States Associa-
tion from seeking a larger measure of relief than that
offered by the distributors, by legislation, litigation, or
otherwise. Further, that the Allied campaign of legislation
and litigation be prosecuted unceasingly and with vigor,
therefore, be it
"RESOLVED, that Allied Theatre Owners of New
York [State] hereby goes on record as being completely in
accord with the National policies as above stated by the
National Board of Directors, and hereby instructs its
officers and its representatives on the National Board to
give the fullest cooperation to the national body in carrying
forward its policies."
Col. H. A. Cole, president of the national body, was en-
thusiastic about the work Mr. Cohen has done in building
up the New York State unit. "He is a tireless and sys-
tematic worker," Mr. Cole stated to the writer.
METRO-GOLDWYN-MAYER
FORECASTS
(Concluded from last ivcek's issue)
"THE SEA OF GRASS," the Conrad Richter novel,
with Spencer Tracy, a melodrama unfolding in the west,
with a feud between cattlemen and "nesters" as the back-
ground, and with an old Colonel, enemy of the nesters, as
the chief character. In the story, the Colonel's wife deserts
him, and their son becomes a criminal ; she returns on the
day the boy was buried, and the Colonel received his wife
as if she had never gone away.
Comment : The story is powerful, and in some spots
deeply appealing. The sufferings of the old Colonel cannot
help touching one's heartstrings. Mr. Tracy certainly ought
to do great justice to the part.
Forecast : MGM has a good piece of property in this
story, and with a few alterations here and there there is no
reason why it should not make a very good picture, in
quality as well as in box-office results.
"SOLDIERS THREE," the Rudyard Kipling novel, a
melodrama, in which one of the characters is driven insane
by the tormenting of his comrades and starts shooting
people. The hero, by proper maneuvering, overpowers him.
Comment : This is not really a plot, but one big situation.
The incidents employed by the late Mr. Kipling to work his
character up to frenzy, making him crack under the tor-
menting, with the final flare up, resulting in murder, and in
the murderer's hanging, show the author's skill in handling
words. But the material, though suspensive, is not pleasur-
able.
Forecast : Unless MGM will have a new storv written,
using this episode as part of it, it is doubtful if the picture
will turn out entertaining.
"THE SPUR OF PRIDE," the Percival C. Wren novel,
an adventure melodrama unfolding in India, with British
( Continued on last pa;fe)
HARRISON'S REPORTS
June 3, 1939
"Exile Express" with Anna Sten
and Alan Marshal
(Grand National, May 27; time, 70 min.)
From a production standpoint, "Exile Express" is as
good as most major company releases ; but as entertainment,
it is only fairly good, for the story lacks plausibility. As a
matter of fact, some of the situations are slightly ridiculous ;
this is so particularly in the situation where the heroine
diverts the attention of two policemen, who were looking
for her, by entertaining them with a "jitterbug" dame. The
story, dealing with espionage, should hold the attention of
an average audience, since the plot is not too involved ;
they may be pleased also with the patriotic note that is
worked into the plot, for it is done without preachment.
( )ne feels some sympathy for the heroine, whose innocence
is proved in the end : —
Anna Sten, who worked as an assistant to Harry Daven-
port, a scientist, looks forward with joy to receiving her
citizenship papers. But Davenport is killed by a spy ring,
who wanted to obtain control of a secret formula he had
perfected. The officials, believing that Miss Sten was in-
volved with the spies, arrange to deport her. Jerome Cowan,
who was supposedly in love with her, arranges for her
escape from the train that was taking her to Ellis Island.
She did not know that Cowan was at the head of the spy
ring. His purpose in "rescuing" her was to force her to
read the scientist's notes that had been partly burned. In
order to make her re-entry into the United States pos-
sible, Cowan arranges for her to marry an American citi-
zen. Alan Marshal, a newspaper reporter, who had fol-
lowed her, takes the frightened bridegroom's place. Be-
fore the night is over, they are in love with each other.
Hut, believing that a story about her that had appeared in a
newspaper had been written by Marshal, she runs away and
goes to Cowan's home. It is then that she learns the truth.
Marshal arrives with the police in time to save her and to
capture the spies. Miss Sten is cleared and receives her
citizenship papers; she is then reconciled with Marshal.
Edwin Justus Mayer wrote the story, and Ethyl La-
Blanche, the screen play ; Otis Garrett directed it, and
Eugene Frenke produced it. In the cast are Jed Prouty,
Walter Catlett, Stanley Fields, Leonid Kinsky, and others.
Suitability, Class A. Tempo fairly fast.
"Bridal Suite" with Annabella
and Robert Young
(MGM, May 26; time, 69 min.)
A silly romantic comedy, with a trite plot. The action is
slow and tiresome ; as a matter of fact the story is developed
mostly by dialogue. In addition, the characters, particularly
the hero, are unappealing. This is due not to the fault of the
performers, but to the inanity of the material. For instance,
one situation shows the hero tricking the heroine into visit-
ing him in his room, and then attempting to force his at-
tentions on her. Even if this were meant to be comical, it is
in bad taste. Annabella's accent still makes her speech un-
intelligible : —
Robert Young, pampered son of Billie Burke and Gene
Lockhart, an American millionaire, gallivants around
Europe, spending money and doing no work. His mother,
who adored him, is unhappy because, on different occasions,
he had missed his own wedding to Virginia Field. Lock-
hart is so annoyed that he threatens to disown him. Miss
Burke, fearing that her son was ill, insists that he go with
her to a resort in the Alps where a famous doctor (Walter
Connolly) was vacationing. Connolly is annoyed when they
arrive, but he examines Young and insists that the only
thing wrong with him was the fact that he did not work.
Young meets Annabella, proprietress of the inn. and makes
love to her, but she really falls in love with him. The shock
he receives when he hears that she had fallen down the
mountain makes him realize that he loved her. He is happy
to find her safe. But they part. Young leaves for America
with his mother, Miss Field and her father; the plans
were for the young couple to be married by the Captain on
the ship. Annabella shows up, ready to believe in Young ;
again she is disappointed when she hears about the impend-
ing marriage. Young jilts Miss Field, marrying Annabella
instead. His father is delighted at the change in his son, who
was now ready to work, having been inspired by Annabella
to do so.
Gottfried Bernhardt and Virginia Faulkner wrote the
story, and Samuel Hoffenstein, the screen play; William
Thiele directed it, and Edgar Selwyn produced it. In the
cast are Reginald Owen, Arthur Treacher, and others.
The bedroom, scene referred to makes it unsuitable for
children and adolescents ; adult fare. Suitability, Class B.
Tempo, slow.
"The Gorilla" with the Ritz Brothers,
Bela Lugosi, Lionel Atwill
and Patsy Kelly
(20th Century-Fox, May 26 ; time, 65 min.)
This murder mystery-comedy, which was produced twice
before, once in 1927 and again in 1930, is just fair pro-
gram entertainment. Although the story is extremely far-
fetched, it offers many Opportunities for the Ritz Brothers,
as three silly, frightened detectives, to provoke laughter by
their antics. Patsy Kelly, too, provides many amusing
moments. All the customary tricks have been employed to
create an eerie atmosphere, such as sliding panels, strange
disappearances, thunder and lightning, screaming, suspi-
cious-looking characters, and so forth. The method em-
ployed in the closing scenes to expose the murderer is weak
and confused; many spectators will not understand it. A
mild romance has been worked into the plot : —
Lionel Atwill, receives a note informing him that he
would be killed by " The Gorilla," a notorious criminal,
who had murdered many persons. He engages the Ritz
Brothers, private detectives, to guard him ; but these are so
frightened that they are of little help. Atwill's niece (Anita
Louise), who had received an urgent message from her
uncle to visit him. arrives with her fiance (Edward Nor-
ris). When Atwill informs her of what was happening, she
is frightened, and suspecting the sinister-looking butler
( Bela Lugosi ). The Ritz Brothers, by their bungling, make
every one in the house nervous. When they actually come
face to face with a gorilla, they are too frightened to do
anything. Joseph Calleia, who professed to be a detective,
aids them in their investigation. He leads them to believe
that Atwill himself had used the gorilla make-up, his pur-
pose being to kill his niece and then collect her inheritance.
Eventually Harry Ritz proves that there had been loose in
the house, a real gorilla, and that Calleia himself was the
murderer. Atwill, who was head of an insurance company
that had suffered losses because of the murders, then ex-
plains that the whole thing bad been arranged so as to trap
Calleia.
The plot was adapted from the play by Ralph Spence.
Rian James and Sid Silvers wrote the screen play, Allan
Dwan directed it, and Harry Joe Brown produced it. In the
cast are Wally Vernon, Paul Harvey, Art Miles, and others.
Children may be frightened. Suitable for adolescents and
adults. Class B. Tempo fast.
"Gracie Allen Murder Case" with
Gracie Allen, Kent Taylor
and Warren William
(Paramount , June 2 ; time, 75 min.)
This is a very good comedy-mystery murder melodrama.
Considering the fact that Gracie Allen plays her usual nit-
wit role, it is amazing that some semblance of seriousness
could be maintained. Not only are her antics extremely
comical, but the story itself is interesting. She is at her best
here, particularly in the second half, when she decides to
help "Philo Vance" solve a murder case. The situation in
which she looks into a mirror and imagines her own reflec-
tion to be that of some one else, probably the mystery
woman in the case, should provoke hearty laughter. But
most comical are the things she says ; these tend to incrimi-
nate innocent persons in the crime. The last scene, which
shows her shaking hands with two men and getting all
mixed up, is so comical, that spectators will leave the
theatre roaring : —
Miss Allen, the silly niece of Jed Prouty, meets her
uncle's perfume factory employees at a picnic ; she is at-
tracted to Kent Taylor, who purposely pays attention to
her in order to arouse the jealousy of Ellen Drew. But he
regrets his act, for Miss Allen soon has him involved in a
murder case : thinking that he had committed the murder,
she places in the hands of the police evidence to convict him,
hut asks them for leniency because it was the first murder
Taylor had committed. The detectives get all mixed up by
the things she tells them. Taylor is arrested. Warren Wil-
liam, famous detective, enters the case. He realizes that
Taylor was innocent, and begins an investigation. He tries
to keep away from Miss Allen but she follows him and
insists on helping. Despite her hampering his work, he
solves the case and points out the guilty persons. Taylor is
released. Miss Allen is sorry when she learns that Kent
loved Miss Drew.
S. S. VanDine wrote the story, and Nat Perrin, the
screen play; Alfred E. Green directed it, and George
Arthur produced it. In the cast are Judith Barrett, Jerome
Cowan, Donald MacBride, William Demarest, and others.
Since the comedy predominates, suitability Class B.
Tempo fairly fast.
June 3, 1939
HARRISON'S REPORTS
87
"Racketeers of the Range"
with George O'Brien
(RKO, May 26; time, 62 min.)
A good program western melodrama. It gives the fans
the kind of excitement they like — fast horseback riding,
good fist fights, and plentiful shooting. The story, although
routine, holds one's attention fairly well because of the
constant danger to the hero, who had undertaken to help
the ranchers fight a large company's attempts to monopolize
the cattle business. The heroine at first appears at a disad-
vantage because of her silliness in refusing to listen to
reason ; but she changes later. The romance is minimized : —
Realizing that a certain large corporation was trying to
monopolize the cattle business, which would mean virtual
ruin for the Arizona ranchers, O'Brien induces the ranchers
to place their trust in him. He prevents the heroine from
selling her meat-packing business to the corporation. At
first she is resentful, but when she learns the facts she
works with O'Brien. Gangsters engaged by the corporation
try to outwit O'Brien so as to stop him from continuing
with his plans to deliver cattle. But after a terrific fight,
O'Brien and his men succeed with their plans and rid the
territory of the gangsters. Miss Reynolds is happy, for she
had fallen in love with him.
Bernard McConville wrote the story, and Oliver Drake,
the screen play; D. Ross Lederman directed it, and Bert
Gilroy produced it. In the cast are Chill Wills, Gay Sea-
brooke, Robert Fiske, Ray Whitely, and others.
Suitability, Class A. Tempo, fast.
"Grand Jury Secrets" with John Howard,
Gail Patrick and Harvey Stephens
(Paramount, June 23; time, 68 min.)
A fair program melodrama. At first, the hero, a news-
paper reporter, is an obnoxious character, for he stoops
to cheap tricks in order to obain scoops. For instance, he
poses as a priest, thereby winning the confidence of a
young prisoner who had refused to talk to the police for
fear of involving his family. Moreover, he tries to make
love to his brother's fiancee, an act that is distasteful to
most persons. He does, however, redeem himself towards
the end. The closing scenes are exciting : —
Harvey Stephens, assistant district attorney, is disgusted
at the tactics used by his brother (John Howard), a news-
paper reporter, to obtain scoops for his newspaper. Howard
would print anything, even if by doing so he would ob-
struct justice. When the police arrest a young man on the
charge of murdering an investment broker (Porter Hall ),
Howard conceives the idea of posing as a priest in order
to obtain a confession from the prisoner. His plan works.
But when he jokingly tells his mother (Jane Darwell)
what he had done, she is so ashamed of him that she slaps
him. It is then that he comes to his senses. Stephens, know-
ing what Howard had done, tries to force him to talk ; but
Howard refuses, preferring to go to prison. Being desirous
of making up for his misdeeds, Howard induces his brother
to release him so that he could work on the case to prove
the young man's innocence. Following a hunch, Howard
finally solves the case by proving that Hall had been mur-
dered by his own partner, but the murderer traps him. How-
ard is saved by means of a signal he had sent out over the
short wave radio. He is forgiven by all.
Maxwell Shane and Irving Reis wrote the story, and
Irving Reis and Robert Yost, the screen play; James
Hogan directed it. In the cast are William Frawley, John
Hartley, and others.
Unsuitable for children, but satisfactory for adolescents
and adults. Suitability, Class B. Tempo fairly fast.
"The Mikado" with Kenny Baker
(Universal, [1939-40 Rel.] ; time, 89 min.)
A delightful, artistic presentation of the famous Gilbert
and Sullivan comic operetta. There is no doubt that it will
be received extremely well by the followers of Gilbert and
Sullivan's works, for not only will they hear the familiar
tunes, which are sung exceedingly well by a competent cast,
but they will be treated to a production which far surpasses
any stage version of the operetta. How the masses will
accent it, however, it is another question. The music is
familiar to young as well as old, but there are no names of
box-office value, and the action is limited, because it has
been produced in the form of a stage play : —
Nanki-Poo (Kenny Baker), son of the Mikado (John
Barclay), who, refusing to follow his father's orders that
he marry Katisha (Constance Willis), an elderly court
lady who loved him, runs away, disguised as a wandering
minstrel. During his travels he meets Yum- Yum (Jean
Colin), one of three sisters, wards of Ko-Ko ( Marty n
Green) ; but to his sorrow he learns that Ko-Ko himself
had arranged to marry Yum- Yum. Ko-Ko becomes Lord
High Executioner of Titipu, but performs no executions.
When he receives word from the Mikado that there should
be a beheading, he does not know what to do. Learning that
Nanki-Poo had decided to kill himself, Ko-Ko induces
Nanki-Poo to let him behead him. Nanki-Poo agrees to it
on one condition — that first he be permitted to marry Yum-
Yum, after which he would not mind dying. Just before
the marriage Katisha arrives and recognizes Nanki-Poo;
she rushes to the Mikado for help. By the time the Mikado
arrives, Nanki-Poo and Yum-Yum are married. Every-
thing is adjusted when Ko-Ko, in order to save his neck,
marries Katisha, even though she disgusted him. The
Mikado forgives Nanki-Poo.
Geoffrey Toye adapted, conducted and produced it. Victor
Schertzinger directed it. Others in the cast are Sydney
Granville, Gregory Stroud, and the chorus of the D'Oyly
Carte Opera Company.
Suitability, Class A.
"Code of the Secret Service" with Ronald
Reagan and Rosella Towne
(First National, May 27; time, 57 min.)
A wild program melodrama, with an appeal mostly to
children and to action-melodrama fans. The plot is too far-
fetched for intelligent adults. Occasionally, it is somewhat
exciting, due to fast action, which places the hero in danger.
Eddie Foy, Jr., is fairly amusing as the hero's assistant, who
gets himself into scrapes. The romance is incidental : —
Ronald Reagan, a United States Secret Service Agent, is
assigned to the difficult task of tracking down a gang of
clever counterfeiters. His search takes him outside of the
United States. The agent (John Gallaudet) he was sup-
posed to have contacted is killed by members of the gang,
who make it appear as if Reagan, who was posing as a
drunken gambler, was the guilty person, for they knew that
Reagan was an agent. Reagan escapes in company with his
assistant (Foy, Jr.). From bits of information he picks up,
Reagan finally traces the gang to a mission house, where
the leader (Moroni Olsen), disguised as a priest, traps him.
Reagan is worried not about himself, but about Rosella
Towne, a young girl he had met accidentally, who, too, was
held captive by the gang. But again he manages to escape,
this time with Miss Towne, and just in time, too, for Olsen
had planted a bomb to blow up the mission with. The
police arrive and arrest Olsen and one of his men ; the others
had been killed in the explosion.
Lee Katz and Dean Franklin wrote the screen play from
material supplied by W. H. Moran. Noel Smith directed it,
and Bryan Foy produced it. In the cast are Joseph King,
Edgar Edwards, and others.
Since the heroism of the hero is stressed, suitability Class
A. Tempo fast.
"The Girl from Mexico" with Lupe Velez
and Donald Woods
(RKO, June 2; time, 71 win.)
The only thing that can be said for this comedy is that it
moves along at a fairly fast pace. Aside from that, the
story lacks originality and is, for the most part, silly, occa-
sionally bordering on slapstick. Lupe Velez works hard,
trying to make the best of trite material ; whatever enter-
tainment value the picture has is due to her efforts : —
Miss Velez, who had been brought to New York from
Mexico by Donald Woods, advertising manager, to appear
on a radio program, falls in love with Woods and resents
the fact that he had a fiancee. The day before her audition,
she induces Woods' uncle (Leon FrroD to show her New
York sights. He takes her to a baseball game and to a
wrestling match where she yells so much that she loses
her voice. Consequently, she fails at the audition. In the
meantime, Woods, who had fallen in love with her, dislikes
to send her back home. She manages to obtain a position
as a singer at a cafe to which Woods goes with a party,
including a prospective customer. Woods is amazed to find
Miss Velez there: and the customer is so taken by her
charms that he insists that she be engaged for his program.
Miss Velez uses this customer in order to arouse Woods'
jealously. The trick works. Woods and his fiancee quarrel
and part ; he is happy, for that leaves him free to marry
Miss Velez.
Lionel Houscr wrote the story, and he and Joseph A.
Fields, the screen play: Leslie Goodwins directed it, and
Robert Sisk produced it. In the cast are Linda Hayes,
Donald MacBride, Elisabeth Risdon, Ward Bond, and
others.
Suitability, Class A. Tempo, fairly fast.
8ci
HARRISON'S REPORTS
June 3, 1939
officers as the chief characters. In it, the hero is framed by a
subordinate officer, imaginary wrongs being the motive, and
is cashiered from the army. His faithful orderly, a Hindu,
takes him to his tribe, to which he is eventually inducted.
Thus he is able to obtain valuable information about enemy
plans, which he sends anonymously to the British. A British
intelligence man eventually discovers him and learns the
truth about the frame up. The two become disguised as
natives and call on the subordinate, who by this time had
become commander of a fort. They offer him a bribe, and
he accepts it. Thus he is exposed, and is made to sign a
confession. But at that moment an enemy tribe attacks them
and the three forget their differences. The subordinate saves
the life of the hero, but loses his own life. The hero, rather
than besmirch the dead man's name, destroys the written
confession, and with it the means by which he could have
exonerated himself.
Comment: It is a powerful story, directing a strong
appeal to the emotions of sympathy. The hero's destroying
tin- proof of his innocence m gratitude for his former be-
trayer's act of self-sacrifice cannot help touching one.
There is no romance, but in all likelihood the producers
will work in one.
Forecast : This story should make a picture very good in
quality, with pretty good box-office results even with un-
known players.
"SUSAN AND GOD," the stage play by Rachel
Crothers, to be produced by Hunt Stroinberg — a satirical
comedy-drama, dealing with a charming, but selfish and
vain woman of the world (heroine), who returns from Eng-
land infected with "The Oxford Movement." Her theories
about this new religion effect the reformation of her hus-
band, a drunkard, but her devotion to this movement brings
about their estrangement. She eventually realizes that real
faith is an inward feeling, the kind that required no public
exhibition.
Comment : The play had 288 performances. The character
of the heroine is unpleasant for the most part, but it be-
comes sympathetic in the end. The action unfolds mostly
by conversation. The play was successful chiefly because
of Gertrude Lawrence's superb acting.
Forecast: The play offers to MGM opportunities for a
fine picture, provided suitable alterations in plot as well as
in characterizations are made. It is the type of story that
directs an appeal mostly to cultured people. MGM will
undoubtedly make a lavish production with it. Very good
to excellent in quality.
"THUNDER AFLOAT," a story by Ralph Wheel-
wright, with Wallace Beery as the star — a war-time
melodrama, with submarines and submarine chasers, in
which the hero discovers the whereabouts of a German
submarine and, by signaling an American submarine chaser,
brings about its destruction. A charming romance is inter-
woven in the plot.
Comment : There is fast action all the way through, con-
siderable human interest, and a chance for plentiful comedy ;
and, because the characters are naval officers, glamor.
Forecast : The picture should turn out either good or
very good in quality, with similar box-office results if Mr.
Beery should be in the cast.
"THOMAS EDISON," the biography of the inventor
by H. Alan Dunn, showing the struggles of Mr. Edison
from boyhood to the end of his time.
Comment : There is deep human interest in the life of
Mr. Edison, in his struggles as a newsboy first, in his ex-
periments for the perfection of the incandescent lamp, in
fiis invention of the phonograph, and his many other in-
ventions.
Forecast : This biography should make a good to very
good picture, with similar box-office results.
"TWENTY THOUSAND LEAGUES UNDER THE
SEA," a fantastic undersea adventure, the novel by Jules
Verne, the famous French author, in which the submarine
was first conceived in the author's imagination before any
one had any idea that the day would come when the sub-
marine would become a reality.
Comment: When the book was first published, it cap-
tured the imagination of the readers of all nations, for it
was translated into almost every language that is spoken
today. The school child of almost every generation has read
this book since it was published. It was first pnxluced as a
picture by William Fox.
Forecast : The story material is not such as to make a
picture that would appeal to the masses. In all probability
it will attract mostly children. If MGM should produce it
in technicolor, it might become a fascinating spectacle even
for adults.
"WINGS ON HIS BACK," a Miles Connolly story,
to be produced with James Stewart — a comedy-melodrama,
dealing with a barnstorming flyer, who finds romance when
he rescues a girl flyer, who turns out to be the daughter of
the Secretary of the Treasury.
Comment : The story material is not of such a magnitude
as to make more than a program picture.
Forecast : It should make a fair to fairly good picture,
with the box office performance depending on Mr. Stewart's
popularity.
"WINGS OVER THE DESERT," a story by Harold
Buckley — a melodrama dealing with the efforts of English
aviators to suppress the uprising of Christian-hating Arab
bandits, who were led by a fanatical leader. In it the hero,
Commander of an air squadron, escapes from the hands of
the bandits and, upon his return, finds his sweetheart mar-
ried to another man, learns that the Arabs had murdered
Christians, and conceives a scheme by which the Arab
murderers are destroyed.
Comment : This is an action melodrama, the kind that
should hold one in tense suspense. The nature of the story
is, however, such as to create a bad feeling among the
Asiatics. Consequently, the production of such a story is,
at this time, ill-advised.
Forecast : The story should make a fairly good to good
melodrama.
"WITCH IN THE WILDERNESS," a story by Des-
mond Holdridge, with Joan Crawford (and possibly Spen-
cer Tracy) — an adventure melodrama, of an American
party on a yacht marooned in the Amazon River, in South
America.
Comment : The story is ordinary ; it deals chiefly with
the reactions of people who find themselves in an uncom-
fortable position. There is mild excitement as a result of
the mutiny of the crew.
Forecast : If Spencer Tracy should be given the male
leading part, there is no doubt that the story will be altered
considerably. As the story now stands, it should make an
ordinary picture, with the box office results heightened by
the presence of two box-office stars.
"THE WOMEN," the Clare Boothe play, with Norma
Shearer and Joan Crawford in the leading parts, and with
Rosalind Russell, Joan Fontaine, and Ruth Hussey in the
cast — a satirical comedy drama. Gossip is the main pastime
of the society in which the heroine belongs, which gossip
eventually touches her, too, by connecting her husband with
a woman. She wants to forgive, but her supposed-friends
keep on babbling, compelling her to go to Reno, where she
obtains a divorce. There she meets some women and be-
comes so disgusted with their callousness that she resolves
to become reconciled with her husband. But it is too late —
he had arranged to marry another woman. It is assumed
that eventually the two remarry.
Comment : The play kept going for one and one-half
years. The critics did not like it but they admitted that it
appealed to the masses. Considering that the story deals
with women of the wealthy circle, MGM will no doubt
make the picture lavish.
Forecast : The story material has the makings of a very
good to excellent society drama, with similar box-office
results.
"THE YEARLING," the Kinnan Rawlings novel, a
Florida backwoods country melodrama, with a feud inter-
woven in the story. A deer is shown becoming the pet of
the boy-hero.
Comment : The story is for a picture of the program
grade. Some sympathy is awakened for the young hero, but
the feud does not give one pleasure.
Forecast : It should make a fair program picture.
ORDER YOUR MISSING COPIES
Once in a while your copy of Harrison's Reports is lost
in the mails. Look into your files to find out what copies are
missing so that you may order duplicate copies. These will
be supplied to you free of charge. A substantial stock of
copies of all issues is kept on file for just such a purpose.
You don't know when you may need the copy that is just
missing. So why not take care to complete your file now?
Entered as second-class matter January 4, 1921, at the post office at New York, New York, under the act of March 3, 1879.
Harrison's Reports
Yearly Subscription Rates: 1270 SIXTH AVENUE Published Weekly by
United States {1S.09 R^m1fi19 Harrison's Reports. Inc.,
U. S. Insular Possessions. 16.50 Ivoonl 10" Publisher
Canada 16.50 New York, N. Y. P. S. HARRISON, Editor
Mexico, Cuba, Spain 10.50 . ... . _ . . „ .
1Crr A Motion Picture Reviewing Service
Great Britain 15. to w=t„i,n,,k.j t„i« 1 iaia
Australia, New Zealand, Devoted Chiefly to the Interests of the Exhibitors Established July 1, 1919
India, Europe, Asia .... 17.50
oc„ „ r.nv Its Editorial Policy: No Problem Too Big for Its Editorial ClFcle 7-4622
0 iy Columns, if It is to Benefit the Exhibitor.
A REVIEWING SERVICE FREE FROM THE INFLUENCE OF FILM ADVERTISING
Vol. XXI SATURDAY, JUNE 10, 1939 No. 23
DON'T MAKE "OF MICE AND MEN," MR. ROACH!
Mr. Hal Roach
Hal Roach Studios
Hollywood, Cal.
Dear Mr. Roach :
United Artists, the distributing organization through
which you are releasing your pictures, has announced to
the exhibitors that you are going to produce John Stein-
beck's novel, "Of Mice and Men," which was also produced
on the stage, by George S. Kaufman.
As a justification for producing this novel-play, you say :
"More than 260,000 copies of the book have been sold, while
the play, which ran six months in New York and won the
coveted Critics' Award, is now being presented on the road
from coast to coast."
In view of the fact that this letter will be read by those
who are expected to buy this picture, it is no more than fair
that they be given an idea of what the theme is :
"Curley, the egotistical son of a ranch boss in Central
California, and a sneak, is married to Minnie, a gaudy,
amorous blonde, of shady ancestry.
"The ranchers Slim, Carlson, Crooks and Candy indulge
frequently in low-humor discussions.
"George, a likeable chap, and Lennie, his pal, a feeble-
minded giant, obtain work in 'this tawdry atmosphere.'
Through George's efforts to keep Lennie, who loved to pet
soft things and strangled whatever mice he got hold of, and
his puppy dog, because they were soft, from doing harm,
there grew between them a strong affection.
"Curley, who was hated by the other ranchmen, is unable
to hold the interest of his amorous wife. He is suspicious of
every rancher and is constantly upset by her flirtations with
them. But they spurn her, because they felt that her pres-
ence meant trouble.
"Minnie, unable to interest any of them, decides to leave
the valley and, on the Sunday that followed the arrival of
George and Lennie, she enters the hayloft of the bunkhouse
for the purpose of hiding her valise, planning to leave at
nightfall.
"As she was leaving the dimly-lighted barn, she is con-
fronted by Lennie, who was lying in the hay, fondling the
body of his puppy dog, which he had strangled.
"Tarrying in the hay-bin, Minnie tells him of her dissat-
isfaction with her husband, and Lennie, with a silly grin
on his face, tells her of his love for soft things. Minnie ex-
hibits to him her soft, flaxen hair, and taunts him to stroke
it, and Lennie, as he strokes her hair, grabs her about her
throat and strangles her, just as he had strangled the mice
and his puppy.
"Lennie's only worry now is whether George will be
angry with him. Throwing a few bits of straw over her
corpse, he goes to the hills.
"The body is discovered and a posse is formed to find
Lennie so as to lynch him.
"George knows of his pal's hideout and, with a feeling
of loyalty for his companion, decides to defeat the ranchers'
plans, and the law : Arming himself with a revolver, he finds
Lennie and shoots him dead."
Suppose, Mr. Roach, that the producer who had decided
to produce this story was not you but somebody else ; what
would you think of such a story in pictures ? Judge the story
objectively, and not as if you were interested in it. What
part of it will, in your opinion, interest the public? What
character? Minnie, the sensual woman? Curley, the sneak?
Candy, the one-arm recluse, with a mangey dog as his pet ?
Lenni*, the feeble-minded man? If Lennie, what action of
his will, in your belief, please the picture-going public
most? His strangling of mice? — will mice, even if not
strangled, be cheering to an audience? Lennie's strangling
of his pet dog? His strangling of Minnie? Will George's
character be tolerated towards the end, where he murders
the unfortunate Lennie?
I know what you will say when you read these lines : you
will point out to me what the New York critics have said
about the play, particularly Dick Watts, of the New York
Herald Tribune. But it has been my belief that the pro-
ducers of moving pictures have, by this time, learned to
distinguish between the different arts of expression. Mr.
Watts was correct in his estimate of the play, because he,
in judging it, had in mind that a play of this kind will be
patronized by adults. And these, among the most developed
mentally. Those who have enjoyed the play will no doubt
enjoy the picture.
But you are producing this picture for the general public,
and not for the patrons of the stage.
Mr. Roach ! You must not produce this picture. If you
have any regard for your own reputation, you will not
produce it. If you haven't, you should at least have some
regard for the industry in general. Remember that the
motion picture industry has not treated you badly ; you
have made a comfortable living out of it. You owe some-
thing to it, then.
Mr. Roach ! You must not produce this picture. Remem-
ber what happened in 1933, when Mr. Adolph Zukor pro-
duced "Sanctuary," releasing it under the title "Temple
Drake," the name of the main character in William Faulk-
ner's book. Mr. Zukor, too, disregarded the warning that
was given him, and the result was a revolt of the churches.
Mr. Roach ! In making this plea to you, I am prompted
only by one desire — to save the industry and your own
interests from the consequences of your mistake.
Don't make this picture, Mr. Roach ! There are so many
other subjects that you can choose from! Subjects that will
bring joy instead of misery ! Don't make it !
Very sincerely yours,
P. S. Harrison.
UNITED ARTISTS FORECASTS
David Selznick Productions
"REBECCA," the best seller, by Daphne DuMaurier, to
be directed by Alfred Hitchcock, ("The Lady Vanishes,"
"Secret Agent," and "The 39 Steps"), a society drama, in
which a young orphaned girl meets in Monte Carlo a
middle-aged Englishman, a widower, and falls in love with
him. Although he, too, is madly in love with her, when
they marry and move to his estate in England, she conceives
the notion that he was still in love with his dead wife,
Rebecca, until a crisis arises and she is told by her husband
what a "rotter" she had been. He confesses to her that she
had goaded him into murdering her, and then he made it
appear as if she had drowned in her boat during a storm.
The two have some heart-breaking experiences when a
year later the boat is found and in it the skeleton of
Rebecca, but the young wife encourages him to pretend
innocence, until the coroner's jury finds that Rebecca's
death was suicide.
Comment: The story material is powerful. The finding
of the boat and of Rebecca's skeleton in it ; the agony both
husband and wife experience lest the hero be held for
murder; the inquest by a coroner's jury; the heroine's
presence at the hearing and her fainting— all these and
other situations are powerful.
Forecast: In producing this picture. Mr. Selznick will
be confronted with a serious problem — how to avoid con-
( Continued on last pa</e)
90
HARRISON'S REPORTS
June 10, 1939
"Wolf Call" with John Carroll and Movita
(Monogram, May 18; time, 60 min.)
A fair program outdoor melodrama. The story is routine,
offering tew new angles ; as a matter of fact, the ending is
(|uite obvious. Action fans will, however, probably find it
satisfactory, for there are a few good iist fights. Particu-
larly exciting are the closing scenes, where the plotters are
outwitted. John Carroll and Movita handle the formula
romance pleasantly, and sing two musical numbers well : —
Guy Usher, wealthy radium mine owner, sends his play-
boy son (Carroll) to Alaska to investigate conditions at the
mine. Believing that the mine was worthless, as he had been
told by his scheming lawyer (Holmes Herbert), Usher had
used it merely as an excuse to get Carroll away from his
friends, in an effort to make a man of him. Carroll meets
and falls in love with Movita, whose father worked at the
mine as a chemist. The chemist makes him realize that the
mine could work and pay large profits ; it is then that Car-
roll understands why the foreman (Wheeler Oakman),
who was in league with the firm that wanted the mine, had
acted so strangely. He tries to get in touch with his father
so as to stop him from selling the mine to the rival concern ;
but Oakman breaks the radio set. Carroll gets off in his
plane ; but because it had been tampered with he crashes
and is injured. Movita, a north woods padre (Peter George
Lynn ) and her father reach Carroll. Lynn, finding the radio
intact, manages to get through to Carroll's father in time
to stop the sale. Usher and Polly Ann Young, Carroll's
former fiancee, arrive by plane. But Miss Young, who could
see that Carroll really loved Movita, leaves. Carroll decides
to remain in Alaska, to supervise the mine and to marry
Movita.
The plot was adapted from the story by Jack London;
Joseph West wrote the screen play, George Waggner di-
rected it, and Paul Malvern produced it. In the cast are
George Cleveland, John Kelly, John Shcehan, and others.
Suitability, Class A. Tempo, fairly fast.
"The Zero Hour" with Frieda Inescort,
Otto Kruger and Don Douglas
(Republic, May 26; time, 65 min. )
This human-interest drama is pretty good entertainment ;
it should direct a strong appeal to women. In addition to
an interesting story, it has good production values, intelli-
gent direction, and capable acting. One is at all times in
sympathy with the leading characters, whose actions are
commendable. The closing scenes, showing the hero killing
himself in order to insure the heroine's happiness, may
prove depressing to some, but, from a dramatic standpoint,
it was the only logical conclusion. Several of the situations
stir one's emotions. A light touch is provided by J. M.
Kerrigan, as the hero's valet : —
Through the capable coaching of Otto Kruger, a famous
actor-manager, Frieda Inescort becomes a fine actress. She
and Kruger decide, after the opening night of their new
play, to drive to a small town to be married. While on the
road, Kruger discovers that he was out of gasoline and
gets out to signal a car to stop. He is knocked down by the
car, suffering such an injury to his spine that he is crippled
for life. Miss Inescort pleads with him to marry her, but he
refuses ; she vows never to leave him. For nine years. Miss
Inescort is a devoted friend, knowing that Kruger's happi-
ness revolved around her. Being lonesome, she decides to
adopt a child ; her choice is little Ann Todd. She is heart-
broken when she learns that Don Douglas, a widower, had
entered his application for Ann before she had. The child
brings her together with Douglas and in a short time they
fall in love. Kruger, fearing that he might lose Miss Ines-
cort, finally agrees to marry her. But after a visit from
Douglas. Kruger, realizing he was ruining Miss Inescort's
chances for happiness, kills himself.
Garrett Fort wrote the original screen play; Sidney
Salkovv directed it, and Sol C. Siegel produced it. In the
cast are Adrienne Ames, Jane Darwell, Leonard Carey,
Sarah Padden, and others.
Because of the suicide theme, exhibitors who cater to
Catholic audiences may find it unsuitable for their needs.
Otherwise, suitability, Class A. Tempo, somewhat slow.
"They Asked For It" with William Lundigan
and Joy Hodges
(Universal, May 26; time, 61 min.)
A fair program melodrama, with comedy. The plot offers
a slightly novel twist, and holds one's attention fairly well,
since it keeps one guessing as to how the murder had been
committed and who had committed it. There are occasional
comedy bits resulting from the antics of small-town char-
acters. The romance is incidental : —
Three friends — William Lundigan, publisher of a small-
town newspaper, Michael Whalen, a lawyer, and Thomas
Beck, a doctor — having graduated from college at the same
time, settle in a small town. Each one has a difficult time
earning a living. Lundigan receives news of the death of a
certain farmer who had been known to drink too much, and
he and his two friends go out to the farm to offer condol-
ences to Isabel Jewell, the dead man's daughter. An idea
strikes them — why not print a story hinting that the man
had been murdered ? In that way they could create interest
in themselves. Their scheme works ; but they are shocked
to learn that the man had actually been murdered. Lyle
Talbot, a shady character, tells them that Miss Jewell had
killed her father. This news creates much excitement.
Again the three friends are doomed to disappointment when
they learn that Miss Jewell had lied, her purpose being to
get publicity for herself. Realizing that exposure of the
hoax would be to their detriment, they set out to solve the
case. They discover that the victim had rented his barn to
gangsters as a hiding place for stolen silks, and that, when
he had demanded more money, the gangsters had killed
him. The guilty persons are caught. The three friends settle-
back to the old routine, except that Lundigan decides to
marry his assistant (Joy Hodges).
Lester Fuller wrote the story, and Arthur H. Horman.
the screen play ; Frank McDonald directed it, and Max
Golden produced it. In the cast are Spencer Charters, and
others.
Suitable for adolescents and adults, but not for children.
Class B. Tempo, somewhat fast.
"The Jones Family in Hollywood" with
Jed Prouty and Spring Byington
(2Qth Century-Fox, June 2; time, 59'/z min.)
This is somewhat of a let-down in the "Jones Family"
series. The comedy is forced, and the action is slightly
tiresome. It may, however, go over because of the Holly-
wood atmosphere and of the studio scenes, which show the
making of pictures. The members of the family, with the
exception of June Carlson, are less in the limelight than
heretofore. As a matter of fact, most of the laughter is
provoked by a newcomer to the series, William Tracy, who
plays the part of an egotistical young motion picture star.
The closing scenes, in which Jed Prouty becomes involved
innocently with a young actress, are fairly amusing : —
When Jed Prouty is informed that he had been chosen to
represent his hometown! American Legion post at the con-
vention in Hollywood, he is quite excited. Knowing that
Prouty could not afford train fare for them all, the family
decide to buy a trailer and travel that way ; Prouty reluc-
tantly agrees to their plan. June accidentally meets Wm.
Tracy, a motion picture star. When he invites her to visit
the studio, she arrives accompanied by her family ; this
annoys him. Eager to make an impression on her, he ar-
ranges a screen test for her. The test is a dismal failure, but
June and her family are not aware of it, until June over-
hears Tracy telling some other girl what he thought of her.
She then begs her mother to take her back home. Prouty, in
an effort to help his son, who had become involved with a
young screen actress he wanted to marry, goes to see the
girl. His wife and mother find him there and misunder-
stand ; but he finally convinces them of his innocence. They
are happy to leave for home.
Joseph Hoffman and Buster Keaton wrote the story, and
Harold Tarshis, the screen play ; Malcolm St. Clair di-
rected it, and John Stone produced it. In the cast are Ken
Howell, George Ernest, Florence Roberts, Billy Mahan,
June Gale, and others.
Suitability, Class A. Tempo, somewhat fast.
June 10, 1939
HARRISON'S REPORTS
91
"Undercover Doctor" with J. Carrol Naish,
Lloyd Nolan and Janice Logan
(Paramount, June 9; time, 66 min.)
A fair program gangster melodrama. It is not particu-
larly edifying for young folk, since the leading character, a
doctor, disregards the ethics of his profession in an effort
to become wealthy. One cannot, therefore, be in sympathy
with him when he is finally trapped by the law. As in most
gangster pictures, the story lacks human appeal, since there
is not a character that the spectator is particularly inter-
ested in. Where gangster pictures are liked, it should, how-
ever, go over, for it has a fair amount of excitement, par-
ticularly in the closing scenes, where the gangsters are
finally trapped : —
J. Carrol Naish, an impoverished small-town doctor, is
forced to treat a man with a gun wound. Broderick Craw-
lord, the gangster leader, insists on Naish's taking a large
fee. When Naish returns to his office, his first impulse is to
call the police. But he changes his mind, deciding to use the
money so as to open an office in a good neighborhood in the
city. He continues secretly to treat gangsters, and becomes
wealthy. At a hospital one day he meets Janice Logan, who
had formerly worked for him, and insists that she return to
his office. Since she, unknown to him, loved him, she agrees.
But she soon finds out what Naish was doing and pleads
with him to give it up. He decides to do so until he finds out
that, unless he could raise $25,0(J0 to cover his stock market
manipulations, he w:ould lose everything, including his
society fiancee (Heather Angel) ; he then agrees to one
more job, demanding $25,000 for it. But Miss Logan, who
had become acquainted with G-man Lloyd Nolan, notifies
him, without identifying herself, where he could find the
gangster whom Nolan had treated. The G-men arrive there
in time to capture the injured man, but the others escape.
Nolan, who had become suspicious of Naish and had in-
vestigated him, works out a scheme whereby he traps
Naish, Crawford, and the others. Naish gives himself up,
thankful that it was all over. Nolan comforts Miss Logan.
Edgar J. Hoover wrote the story, and Horace McCoy
and William R. Lipman, the screen play ; Louis King
directed it.
Unsuitable for children and even for adolescents ; best
suited for adults. Class B. Tempo, pretty fast.
"Unmarried" with Helen Twelvetrees
and Buck Jones
(Paramount, May 26 ; time, 66 min.)
Just a mild program entertainment with some human
interest and comedy; it was made once before, in 1932,
under the title "Lady and Gent." It is doubtful if the Buck
Jones fans will enjoy seeing him in a story of this type as
much as in westerns, for it lacks the pace and excitement of
the outdoor melodrama. Human interest is aroused by the
sacrifices hero and heroine make for the sake of a young
boy they had undertaken to care for. Most of the laughter
is provoked by the bickering between hero and heroine.
Although they are shown living together without the bene-
fit of matrimony, this point has been handled discreetly: —
Jones, a prizefighter, loses an important bout because of
drink. Robert Armstrong, his manager, having lost every-
thing on the fight and desperately in need of money, tries
to rob a safe ; he is killed by the watchman. Helen Twelve-
trees, Jones' sweetheart, had always been suspicious of
Armstrong. When she finds a telegram in his pocket signed
'Ted," arranging an appointment to meet at a certain house
in a small town, she insists on accompanying Jones there to
find out what it was all about. To their surprise "Ted" turns
out to be Armstrong's young son. Miss Twelvetrees agrees
to stay for a short time to take care of the boy, but it turns
into years, during which Jones works hard, fighting on the
side, in order to earn enough money to send the boy through
college. When he hears that the boy intended leaving college
to Income a fighter, he quarrels with him and they fight;
the boy knocks him down. Sorry for what he had done, and
realizing that they had sacrificed themselves for him; he
apologizes, promising to finish his college course. He
pleads with them to legally adopt him. So they are com-
pelled to marry in order to do so.
Groyer Jones and William S. McNutt wrote the story,
and Lillie Hayward and Brian Marlow. the screen play;
Kurt Neumann directed it. In the cast are John Hartley.
Donald O'Connor, Sidney Blackmer, Iarry Crabbe, and
Edward Pawley.
Unsuitable for children; all right for adolescents and
adults. Class B. Tempo, just fairly fast.
"Invitation to Happiness" with Irene Dunne
and Fred MacMurray
(Paramount, June 16; time, 99 min.)
Just a fair romantic drama, with prizefighting as the
background. There is nothing unusual about the story,
which is developed in a ponderous style ; and the action is
somewhat slow. Not until the last two reels does anything
happen to touch one's emotions. But in those two reels
there are a few situations that bring tears ; these are caused
by father love. Men will be thrilled by the fight in the
closing scenes, because of the realistic manner in which it
has been presented. Since the story starts in 1927, the
characters wear clothes appropriate for that period ; but
the styles are not particularly becoming to Miss Dunne,
who appears to advantage only when she starts wearing
modern clothes. The romance is fairly appealing : —
Miss Dunne learns that her millionaire father (William
Collier, Sr.) intended to buy a half-interest in a fighter
(Fred MacMurray) ; she is so annoyed that she insists on
accompanying him when he goes to close the deal with the
fighter's manager (Charles Ruggles). Once she sees
MacMurray, she is glad to make the deal. She falls in love
with him. MacMurray, realizing that they were far apart
socially, tries to resist her; he warns her that she was
letting herself in for trouble. They marry, and MacMurrav
moves to her home. He makes her understand that he had to
continue with his profession, for he had set his goal at
becoming champion. He is compelled to be away from her
for long periods, and is not even present when their son is
born. After ten years, MacMurray gets his chance to fight
the champion. Just at that time he realizes that his son
( Billy Cook) did not love him. After a quarrel Miss Dunne
decides to divorce him. The court awards Billy to his
father for six months, then to his mother for six months,
after which time the boy was to choose the one he would
stay with permanently. Afraid that if he went away to
training camp, leaving Billy in the city, he might lose his
chance to win the love of his son, on whom he centered all
his attention, MacMurray decides to train in the city. His
one desire was to win the fight, so as to make Billv "proud
of him. But he loses. This, however, brings him together
with his wife and son.
Mark Jerome wrote the story, and Claude Binyon, the
screen play; Wesley Ruggles directed and produced it. In
the cast are Marion Martin, Oscar O'Shea, Eddie Hogan,
and others.
Suitability, Class A. Tempo, somewhat slow.
"Charlie Chan in Reno" with Sidney Toler,
Ricardo Cortez and Phyllis Brooks
( 20th Century-Fox, June 16 ; time, 70 min. )
A fair murder-mystery melodrama, with comedy. The
plot is developed according to formula, placing several
characters under suspicion. Murder-mvstery fans will
probably enjoy it, since the murderer's identity is not re-
vealed until the end ; they are thus given an opportunity to
work out the case for themselves. Sidney Toler handles" the
"Charlie Chan" part with more ease, provoking laughter by
his witticisms. Comedy is provoked also by Sen Yung, as
Chans number two son, who gets himself into many em-
barrassing situations because of his efforts to help his
father : —
When Pauline Moore, who had gone to Reno to divorce
her husband (Kane Richmond), is arrested for the murder
of Louise Henry, her rival, Richmond feels conscience-
stricken and pleads with Toler to handle the case. Toler
1 TTthere were several Persons who had reasons
to kill Miss Henry— Kay Linaker, whose husband had left
her for Miss Henry; Ricardo Cortez, a doctor, who had
withheld evidence about the real cause of the death of one
of Miss Henrys husbands; Phvllis Brooks, who loved
Cortez and wanted to protect him. and a young man, who
had been led to believe that Miss Ilenrv' loved him But
all the evidence points to Miss Moore, and the Sheriff
( blun Summerville) insists that the case was solved as far
as he was concerned. Toler, with the help of his son
finally proves that the murder had been committed hv Miss
Brooks; she gives herself up. Miss Moore and Richmond
are reconciled.
Philip Wylie wrote the story, and Frances Hvland, Al-
bert Kay. and Robert K. Kent, the screen plav'; \, „•„,.,„
Foster directed it. In the cast are Eddie Collins, and others
n n -r- children: suitable for adolescents and adults.
Class B. Tempo, tairly fast.
92
HARRISON'S REPORTS
June 10, 1939
doning murder; for the hero, after all, commits a murder,
no matter how justified he may have been. In all proba-
bility some alteration in that part of the plot will be made,
perhaps presenting Rebecca as really meeting either de-
liberate or accidental death by drowning, and the innocent
hero being accused for her murder. Perhaps the death
should be accidental, so as to avoid giving offense to some
religions, which consider suicide a mortal sin. With the
care Mr. Selznick gives his productions, there should not
be in any exhibitor's mind the least doubt that he will give
the right solution to this problem. Consequently, the picture
should turn out excellent in quality as well as box office
performance.
Alexander Korda Productions
"FOUR FEATHERS," a war melodrama to be pro-
duced in technicolor, in England, with Ralph Richardson
("The Citadel"), John Clemens ("Knight Without Ar-
mor"), and C. Aubrey Smith, to be directed by Zoltan
Korda ("Drums" and "Elephant Boy"). The story deals
with the hero, one of four close friends and companions,
who, being afraid of war, resigns from the Army when his
regiment is ordered to Sudan. Dubbed a coward, he re-
ceives from each of his three friends and from his sweet-
heart a white feather. This wounds his feelings so deeply
that he determines to reclaim himself and return the four
feathers. He goes to Egypt, disguises himself as a native,
and is thus able to render not only to his friends, but also
to the British, particularly at the battle of Odurman, a
great service. He thus re-establishes himself.
Comment: Paramount produced this story in 1929, but it
did not turn out a good entertainment, chiefly because sound
at that time was in its infancy. There is fast action, and the
hero's part, as altered, full of human interest. One is in
sympathy with the hero's efforts to reclaim himself.
Forecast : Mr. Korda will, no doubt, produce this picture
on a large scale ; hence his decision to produce it in natural
colors. Such being the case, the picture should turn out
cither very good or excellent entertainment, with good to
very good box office results.
"OVER THE MOON," a romance, by Robert E. Sher-
wood, to be produced in technicolor, with Merle Oberon
("Wuthering Heights"), and Rex Harrison ("The Cita-
del"), in the leading parts, to be directed by Thornton Free-
land ("Whoopee," and "Flying Down to Rio"). In it, Rex,
a young doctor, breaks with Merle when he discovers that
her grandfather's will had made her the richest girl in
England. Surrounded by parasites, Merle visits several
places in the Mediterranean, but in the end she finds out
how worthless these were and how worthy Rex ; they be-
come reconciled and return to the English countryside.
Comment : The story is very thin. Miss Oberon is the
only player who means something to the box office here.
The technicolor scenes will, no doubt, be beautiful. Perhaps
some gorgeous dresses will be worn by Miss Oberon.
Forecast : The picture should turn out fairly good, with
fairly good to good results at the box office.
"THE THIEF OF BAGDAD," with Sabu ("Elephant
Boy" and "Drums"), and Conrad Veidt. According to the
information given to this office by the United Artists home
office, this story will start where Douglas Fairbanks'
silent "Thief of Bagdad" (1924) left off. "Sabu," the
sjnopsis says, "will perform magnificent and astounding
teats of magic. There will be armies of white Arabian
horses springing out of the ground, Blue Cities and Red
Cities ; slaves imprisoned in bottles, ballets of magnificent
dancing girls, flying Ebony horses, birds that carry men in
iheir claws and a thousand other features. ..."
Comment : The story is, like the old one, fantastic, but
it will have many new features. Perhaps it will be more
interesting than the old version.
Forecast: The silent version did not go over at the box
office, but the exhibitor must bear in mind that the present
picture has two features that the old version lacked — sound
and color. With color, the spectacular scenes could be made
a treat to the eye. There is no doubt that, if Mr. Korda
carries out his plans and produces it on a large scale, the
pic ture should turn out enchanting, and may perform at the
box office very well, or even excellently.
Samuel Goldwyn Productions
"MUSIC SCHOOL," with Jascha Heifetz, Andrea
Leeds, Joel McCrea, Walter Brennan and Gene Reynolds,
to be directed by Archie Mayo. A human interest story,
centering mainly around some East Side youngsters, one of
whom (Gene Reynolds) has a talent for music, supposedly
inherited from his father. Mr. Heifetz comes into the story
to help save the Music School, in the settlement, in which
school penniless prodigies were trained by Walter Brennan
purely for the love of the pursuit, with the hope that, from
among them, some one, some day, might rise to repay,
spiritually, the professor's labors. The interest of Heifetz
had been enlisted by Gene.
Comment : There is "loads" of human appeal in this
story, and naturally chances for all types of enchanting
music. The part of Gene Reynolds awakens warm sym-
pathy. Mr. Heifetz, too, wins one's sympathy by his coming
to the rescue of the settlement music school, which was
about to go on the rocks. The action is fast all the way
through.
Forecast : The picture should turn out excellent in qual-
ity. As to its box office performance, this will, of course,
depend on how the public will receive Mr. Heifetz in pic-
tures. In concert work, he is one of the most popular men
the world over. But the picture should take very well even
without Mr. Heifetz; so good is the story material and so
charming will, no doubt, be the music. Andrea Leeds and
Joel McCrea should help the picture to draw.
"THE REAL GLORY," a war melodrama unfolding in
the Philippines at Fort Mysang, Mindanao, immediately
after the occupation by American troops at the close of the
Spanish-American War, with Gary Cooper, Andrea Leeds,
David Niven and Donald Crisp, to be directed by Henry
Hathaway ("Bengal Lancer," "Spawn of the North,"
"Trail of the Lonesome Pine"). It is the story of the brav-
ery of American officers and of native constabulary, who
eventually succeed in subduing a native revolt, which was
led by Alipang (character name), and in which Alipang is
killed".
Comment : Being a war melodrama, the action is natu-
rally fast. The incidents include a cholera epidemic, an inci-
dent that is not so pleasant in pictures. But an exception
has to be made in this instance because the picture is to be
produced by Samuel Goldwyn — he seems to be the only
producer who can get away with a cholera epidemic in a
picture ("Arrowsmith"). There are many thrilling epi-
sodes. These, Mr. Hathaway will, no doubt, take advantage
of, for he is thoroughly familiar with the production of
action pictures.
Forecast : The picture should turn out very good in
quality, with similar box-office results.
Walter Wanger Productions
"WINTER CARNIVAL," with Aim Sheridan ("Dodge
City," "Angels With Dirty Faces," "Alcatraz Island"),
Richard Carlson ("The Young in Heart"), and Helen
Parrish ("Three Smart Girls Grow Up"), to be directed
by Charles Reisner. It is a college romance, with Dart-
mouth College as the background, photographed during
the Winter Carnival at that College, with the cooperation
of the College authorities, the Dartmouth Outing Club, and
the Daily Dartmouth.
Comment : The main characteristics of this story are
youditulness and fast action. So far as human interest is
concerned, there is very little of it. The only situation
where the emotions of sympathy are stirred is where a son
finds out that his father was on W.P.A. relief and, realizing
how much he was sacrificing to get him a college education,
tells his father that he was going to quit college.
Forecast : The picture should turn out either good or
very good in quality, with similar box office results.
(To be concluded next week)
NEELY BILL MAKES PROGRESS
The opponents of the Neely Bill must have received a
shock when they learned that the Bill was taken out of the
Sub-Committee's hands and placed into the full Commit-
tee's, and on Wednesday the full Committee reported it
favorably by an overwhelming majority, 15 to 3.
It was on Saturday, May 27, that Senator Neely goaded
Senator Barkley, majority leader, into giving him an assur-
ance that action on the Bill would be taken this week. But
he received that assurance only after he gave Senator
Barkley perhaps one of the sharpest tongue-lashings that
he had ever received as a Senator. He practically accused
him of delaying a report on the Bill deliberately.
Senator Neely gave some tongue-lashing also to Senator
Wheeler, of Montana, Chairman of the Committee on In-
terstate Commerce, which has charge of the Bill. Senator
Wheeler finally agreed to have the Bill voted out Wednes-
day, this week, on condition that Senator Neely withdraw a
motion to discharge the committee. Senator Neely complied.
Entered as second-class matter January 4, 1921, at the post office at New York, New York, under the act of March 3, 1879.
Harrison's Reports
Yearly Subscription Rates: 1270 SIXTH AVENUE Published Week4y by
United States $15.00 p„ 1 Ol O Harrison's Reports, Inc.,
U. S. Insular Possessions. 16.50 KOOm lOU Publisher
Canada 16-5<> New York, N. Y. p. s. Harrison, Editor
Mexico, Cuba, Spain 16/50 „ .
Great Britain 15 75 Motion Picture Reviewing Servica
Australia, New Zealand, Devoted Chiefly to the Interests of the Exhibitors Established July 1, 1819
India, Europe, Asia .... 17.50
35c a Cony Its Editorial Policy: No Problem Too Big for Its Editorial Circle 7-46E2
Columns, if It is to Benefit the Exhibitor.
A REVIEWING SERVICE FREE FROM THE INFLUENCE OF FILM ADVERTISING
Vol. XXI SATURDAY, JUNE 17, 1939 No. 24
THE ALLIED CONVENTION IN
MINNEAPOLIS
The day on which this issue will come off the press and
will be mailed (Wednesday), the Allied Convention at the
Nicollet Hotel in Minneapolis will be in full swing.
As predicted, the attendance is going to be the greatest of
any national exhibitor convention in the entire history of
the motion picture industry, not even the Cleveland Conven-
tion in 1920, at which time M.P.T.O.A. was formed, ex-
cepted. All rooms at the Nicollet Hotel were reserved as
early as the first part of the week beginning May 28, and
subsequent reservations were switched to the Radisson
Hotel.
Some of the M.P.T.O.A. leaders, after promising to at-
tend, reneged ; they notified Al Steffes that they would not
attend. Manifestly they feared to face bona-fide independent
exhibitors of the rank and file, and debate the issues in the
open, even though they knew that, with Al Steffes as the
chairman of the convention committee, they would receive
the highest consideration and the best treatment that they
have ever received at exhibitor conventions.
What took place behind the scenes to make them go back
on their word may not be known for some time, but if who-
ever suggested the withdrawal felt that their absence would
make the convention less successful, he will find out how
wrong he was in his calculations, for the convention is going
to prove highly successful just the same. It will be more
in the nature of an industry convention than of an exhibitor
convention. And if the M.P.T.O.A. leaders should be ab-
sent, the loss will be theirs, not Allied's.
Harrison's Reports suggests to the M.P.T.O.A. lead-
ers that, if they consider themselves an integral part of the
motion picture industry, they drop everything they may be
doing and fly to the convention at Minneapolis.
Whatever important decisions are made at the conven-
tion will be discussed fully in next week's issue of this paper.
DUAL BILLS NOT A MATTER OF BELIEF
At the first session of the Columbia sales convention,
which was held at Atlantic City early in May, Mr. Abe
Montague, general sales manager, upheld the dual bills,
stating that, in this question, the exhibitors are guided, not
by personal likes or dislikes, but by the preferences of their
patrons. Mr. Montague is right.
I doubt whether there could be found in this country a
single exhibitor who would resort to dual bills if he could
make a profit with single-feature bills.
The double-feature program is a matter of necessity with
these who have resorted to them. When they see their re-
ceipts vanish because the major circuits do not let them have
the films until after the public had forgotten about them;
or, when a circuit gives such stage presentations as to make
it impossible for an independent exhibitor to compete with
them, then there is only one way out for him — a double-
feature hill. If his first double-feature program draws
patrons into his theatre and subsequent similar bills repeat
the --re ess. nothing can stop that exhibitor from going into
double features permanently.
The double feature bill serves one other worthy purpose
— to keep the independent producers in business. Columbia,
Universal, Republic, and Monogram, and even RKO, could
not have survived without the dual bill policy of thousands
of theatres, for thus a shortage of film is created, causing a
demand also for their "R" films.
There is only one way to cure the double-feature evil :
the major companies should desist from making "13" films,
confining their efforts to producing only grade "A" pictures,
to be sold on merit.
THE PRODUCER HIGH-PRESSURE
PROPAGANDA
Evidently the major companies are frightened to death
because of the Government suit, and have engaged one of
the most astute publicity men in the United States to gain
the public's good will for them. His name is Steve Hanna-
gan, publicity man for "big shots" in other industries.
The first release that has come to my attention from this
publicity man was two weeks ago ; it dealt with the efforts
of the majors to compel the Government to give more de-
tailed particulars in the Federal anti-trust suit pending in
New York.
Mr. Hannagan says :
"The defendants' counsel asked :
"First, an order from the court directing the government
to comply with the court's decision of March 7 by furnishing
'a further and more definite and adequate statement and
bill of particulars.' Defendants claimed the government had
not answered adequately many of the questions the court
had ordered to be answered.
"Second: for an order, in the alternative, 'striking the
petition for failure to comply with said decision.'
"Third : for an order for additional particulars which
already had been granted to Columbia and United Artists.
"Fourth : for an order extending the time of the defend-
ants to answer until 60 days after service of a further bill
of particulars. Defense counsel argued this was necessary
because of the extremely long period (from 1918 to the
present) covered in the government's original bill of
particulars."
This is only the beginning. It will be interesting to watch
Steve, and see some of his clever methods of swaying pub-
lic opinion. From time to time, in these columns, I shall
keep you advised of his activities.
PARENTS TEACHERS ASSOCIATION
FOLLOWS THROUGH ON
NEELY BILL
Mrs. Mary T. Bannerman, National Chairman of the
Committe on Legislation of Parents Teachers Association,
is not resting on the laurels of our common success in having
the Neely Bill reported favorably by the Senate Committee
on Interstate Commerce by an overwhelming majority ; she
is keeping busy in her efforts to have the Bill passed by the
Senate.
By a postal card dated June 1, ^he urges friends of the
Bill to write to their U. S. Senators requesting them to give
the Bill their greatest support.
If the Bill should ever become a law, the independent
exhibitors of this country will owe Mrs. Bannerman a
great debt.
UNITED ARTISTS FORECASTS
Walter Wanger Productions
(Continued from last zceek's issue)
"THE HOUSE ACROSS THE BAY," a story by
Myles Connolly, with Joan Bennett, to bo directed by
Archie Mayo. It is the story of a beautiful young girl who
is wooed by a mysterious man, falls in love with him and
marries him. All goes well — Florida, New York, Chicago —
with wining and dining, until she finds out that, not only
was there against him a Federal charge for tax evasion, but
also his life was in danger, because of his past shady con-
nections with corrupt politicians. Feeling that if he were to
(Continued on last pa</e)
94
HARRISON'S REPORTS
June 17, 1939
"The Sun Never Sets" with Douglas
Fairbanks, Jr. and Basil Rathbone
( ( nivcrsal, J une 9 ; time, 9b min.)
Although this is just fair entertainment, it may do well
at the box-office because of the popularity ot the two
leading players. The story, which is a rather wild melo-
drama, is lar-tetched. I'or instance, one is supposed to take
seriously the idea that a man, by means ot broadcasting
from a remote section on the Atrican Gold Coast, could
cause riots m nations throughout the world and toment war
between these nations. The picture should direct its appeal
mostly to those who enjoy somewhat fantastic melodramas ;
but intelligent audiences will find it slightly silly. Since the
background, atmosphere, and manners are definitely Brit-
ish, the picture is further limited in us appeal to Americans.
There are two romances : —
L«ougia.s i-airbanks, Jr., and his brother (Basil Rath-
bone), ooih connected with the British Diplomatic Service,
leave lor the Atrican gold coast to investigate the actions oi
a scientist (basil Ratnbone), a suspicious character. Rath-
bone's wife (Barbara O'JNieil) insists on accompanying
them, even though she was expecting a child. Fairbanks
reuses to marry his sweetheart (Virginia Fields) until he
wouid return. Having received a message from one of his
assistants, who was being held captive by Atwill's men,
Rathbone is compelled to leave his wife on the very night
she was expecting her baby. During his absence, Atwill
calls on Fairbanks, who knew nothing about him. Atwill
convinces him that he ought to call his brother back. Fair-
banks, frantic with worry over Miss O'Neil's condition,
sends a messenger after Atwill with false information,
which brings Rathbone back. The blunder later brings dis-
grace to Rathbone, who refuses to involve his brother.
Fairbanks later redeems himself by discovering the where-
abouts of the radio station used by Atwill to broadcast his
messages. But he is captured. Rathbone receives orders to
bomb the radio station. He proceeds with the work, even
though he knew his brother was there. Fairbanks, however,
manages to escape ; the others arc killed. Fairbanks and
Rathbone are congratulated for their good work and are
promoted. Fairbanks marries Miss Fields.
Jerry Horwin and Arthur Fitz-Richard wrote the story,
and \V. P. Lipscomb, the screen play ; Rowland V. Lee
directed and produced it. In the east are C. Aubrey Smith,
Melville Cooper, Theodore VonEltz, Mary Forbes, and
others.
Suitability, Class A. Tempo, pretty fast.
"Goodbye Mr. Chips" with Robert Donat
(MGM, Rel. date not set; time, 113 min. )
This British-made picture is a charming, sentimental
drama of an English schoolmaster. It has human appeal,
loveable characterizations, and delightful comedy. In addi-
tion, the performances are superb. Intelligent audiences
will welcome it as a change from the gangster and "smart-
alecky" pictures, for it dedicates itself to glorifying the or-
dinary man in his everyday life. The action is slow-paced
but that is exactly in keeping with the story, which required
just such a tempo. Only a small part of the action is de-
voted to the romance, but so tenderly is it portrayed that it
leaves an indelible impression on the spectator. The story
is told in flashback : —
Mr. Chips (Robert Donat) starts teaching at Brookfield
School at a young age. His shyness and strict adherence t
rules make him unpopular with the boys, and so he leads
a lonely life. He goes on that way until he is middle-aged.
Then, on a walking trip with a friend, he meets Katherine
(Greer Garson), a beautiful, intelligent young woman:
they fall deeply in love and marry. Upon her arrival at the
school, Katherine immediately charms every one, particu-
larly the students. Under her guidance. Chips changes, de-
veloping into a loveable personality ; in a short time he is
worshipped by all the boys. He is overjoyed when he is
informed that he had been appointed housemaster. But he
receives a severe shock when Katherine dies in childbirth ;
the baby, too, dies. He goes on, however, remembering all
that Katherine had told him. Although he had retired be-
cause of old age, he agrees, during the World War, to
return as headmaster. He is filled with sorrow when some
of his old pupils are killed at the front. At the age of 81,
just before dying, he expresses thankfulness for the full life
he had lived and for the joy he had known in his profession.
The plot was adapted from the novel by James Hilton ■
R. C. Sherriff, Claudine West, and Eric Machwitz wrote
the screen play ; Sam Wood directed it, and Victor Saville
produced it. In the cast are Terry Kilburn, John Mills,
Paul VonHcrnried, Judith Furse, Lyn Harding, Milton
Rosmer, and others.
Class A.
"Climbing High" with Jessie Matthews
and Michael Redgrave
(20th Century-Fox — Gaumont-B., Apr. 26; time, 71 min.)
Just a moderately entertaining comedy; it was produced
in England. The surprising thing about it is that Jessie
Matthews neither sings nor dances; despite the fact that
she handles the comedy part well, spectators who have-
learned to enjoy her talents as a singer and dancer may
resent the omission. The story is rather silly, and the dia-
logue and situations at times risque. There is one situation
that is extremely suggestive. It shows Miss Matthews, who
had been called to a certain address by a friend, entering
the premises and becoming frightened when she sees men
and women, parti)- dressed, walking around the house. She
was unaware of the fact that the place was an advertising
agency and the men and women models. An effort is made
to provoke laughter by introducing a lunatic in some of the
situations but the results are more harrowing than amusing.
The romance is pleasant : —
Miss Matthews, a model, falls in love with Michael Red-
grave, without knowing that he was a wealthy society man.
He uses another name, and poses as a poor working man ;
in order to be near Miss Matthews he takes a position as
model with her firm. In the meantime, Margaret Vyner, a
scheming, impoverished society girl, tries to force Red-
grave to marry her. When he proves reluctant to do so, she
pretends to be very ill, and Redgrave, worried about her
health, refrains from telling her of his love for Miss
Matthews. But one day he finds her posing when she wa>
supi>osed to be too ill to see him ; he denounces her and
tells her, in Miss Matthews' presence, that he intended
marrying Miss Matthews. But she feels hurt at having
been fooled, and refuses to see him. When her brother
(Torin Thatcher) arrives from Canada and hears the story,
he is determined to teach Redgrave a lesson. He follows
him to Switzerland. Miss Matthews, worried about what
he might do, rushes after him. Eventually they all meet at
the top of a mountain where their differences are ironed out.
Lesser Samuels and Marion Dix wrote the story, and
Lesser Samuels, the screen play ; Carol Reed directed it.
In the cast are Noel Madison, Alistair Sim, Francis L.
Sullivan, and others.
The situation commented upon makes it unsuitable for
children or adolescents. Adult fare. Class B. Tempo, fairly
fast.
"Young Mr. Lincoln" with Henry Fonda
{2'Oih Century -Fox, June 9 ; time, 101 min.)
Very good entertainment. The story starts in the year
I1S.1J and traces just a few years in Abraham Lincoln's
career, when, as a young man, he started out to practice
law; his two romances are just hinted at. Here he is pre-
sented as the shy but humorous, somewhat gawky young
man, who was liked by his neighbors because of his physical
prowess, his ability to tell amusing stories, and his kind-
ness towards all. The story does not, however, concentrate
entirely on Lincoln ; it takes in other characters, too, and
gives a realistic picture of life on the Midwestern frontier
at that tune. 1 he courtroom scenes are the highlight of the
picture ; there young Lincoln defends two young men who
had been accused of murdering a Deputy Sheriff. Although
at first he gives one the impression of being unable to cope
with the case, he comes through brilliantly, obtaining the
release of his two prisoners. There are several outstanding
situations. One such situation is that in which Lincoln, by
means cf a clever speech, prevents the unruly mob from
lynching the two young men just after they had been ar-
rested. Another impressive situation is that in which Lin-
coln talks to Abagail Clay (Alice Brady), mother of the
two boys, pleading with her to tell him which boy held the
knife. Mrs. Clay tearfully pleads with him not to ask her,
for she could not choose between her sons, since her testi-
mony would mean that one would die and the other live.
Lincoln understands her predicament and comforts her.
Henry Fonda, with the aid of excellent makeup, captures
the spirit of the part and gives what is perhaps his best
performance to date. He receives excellent support from a
competent cast, particularly from Miss Brady.
Since this picture touches upon one phase only in Lin-
coln's career, it does not spoil the prospects for the Lincoln
picture announced by RKO, "Abe Lincoln in Illinois."
Lamar Trotti wrote the original screen play, John Ford
directed it, and Kenneth Macgowan produced it. In the
cast are Marjorie Weaver, Arleen Whelan, Eddie Collins,
Pauline Moore, Richard Cromwell, Donald Meek, Eddie
Quillan, and others.
Class A. Although the tempo is somewhat slow, it is
always engrossing.
June 17, 1939
HARRISON'S REPORTS
95
"House of Fear" with Irene Hervey
and William Gargan
( Universal, June 30 ; time, 65l/2 min.)
A good program murder mystery melodrama. Although
the story is developed in the routine manner, and familiar
tricks are used to create an eerie atmosphere, it holds one's
interest well, because of the fact that the murderers iden-
tity is not disclosed until the very end. In addition, it has a
good sprinkling of comedy, and a pleasant romance : —
The police are puzzled over the mysterious death of an
actor during the rehearsal of a play in which he was to have
starred. The theatre in which the murder had occurred is
closed, the owner (Alan Dinchart) having despaired of
finding a tenant. William Gargan, a detective, posing as a
producer, rents the theatre for the purpose of producing the
play with the original cast. Irene Hervey, who was to have
been the leading lady, refuses to resume her old part, but
when she learns that it would mean a great deal to Harvey
Stephens, the director, with whom she was in love, she
agrees. The new leading man (Walter Woolf King) is
killed in the same mysterious fashion as his predecessor.
Since it was opening night, Gargan insists that Stephens
himself take the part; he assures Miss Hervey, who was
frightened, that he would give Stephens protection. The
criminal is trapped just as he was attempting to kill
Stephens. Everyone is amazed when he is exposed, for he
was Dinehart's younger brother (Robert Coote) ; he had
committed the first murder because his victim had found
out that he had forged his name to a check. Later he had
entered into a secret agreement with a syndicate that
wanted to buy the property. His purpose in committing the
murders was to give the theatre a bad name, thus forcing
his brother to sell.
Thomas F. Fallon and Wadsworth Camp wrote the
story, and Peter Milne, the screen play ; Joe May directed
it, and Edmund Grainger produced it. In the cast are
Dorothy Arnold, El Brendel, and others.
Because of the murders it is unsuitable for children ;
harmless for adolescents and adults. Suitability, Class B.
Tempo, fairly fast.
"The Kid From Kokomo" with Wayne
Morris, May Robson, Joan Blondell
and Pat O'Brien
(First National, June 24 ; time, 92 min.)
Just a fair program comedy, centering around prize-
fighting ; its appeal will be directed mostly to men. It lacks
general audience appeal, for not only is the story silly, but
the characters are extremely unappealing. They, with the
exception of the hero, display the basest traits. And even
the hero fails to win one's sympathy because of the stu-
pidity of the character he portrays. An effort has been
made to awaken human interest by showing the reforma-
tion of a slovenly old drunken woman with criminal ten-
dencies through her association with the hero ; but the man-
ner in which it has been presented is in such poor taste that
it annoys one :—
Pat O'Brien, a prizefight manager, double-crosses four
gamblers by selling each of them a half-interest in his
fighter (Maxie Rosenbloom). He leaves town in company
with his fiancee (Joan Blondell) and his trainer (Ed
Brophy). At one of his stops he finds Wayne Morris, a
young farmer with a powerful punch. But Morris refuses
to leave because he hoped that some day his mother, who
had been gone for twenty years, would return. O'Brien and
Miss Blondell promise to help Morris find his mother.
When they return to the city, O'Brien picks up May Rob-
son, a rum-soaked pickpocket, and engages her to pose as
Morris' mother. The trick works ; Morris is happy with
his "mother" and agrees to continue fighting. Miss Robson
makes merry with Morris' money. O'Brien, knowing that
she would dissipate all of Morris' earnings, tells Morris the
truth, but he refuses to believe it, and so O'Brien calls in
Stanley Fields, a crook-pal of Miss Robson's, to identify
her. But Miss Robson outwits him by introducing Fields as
Morris' father. When Morris learns from gamblers that
Miss Robson had given bad checks for gambling debts, he
promises to throw the championship fight in order to keep
her out of prison. But when the champion makes cracks
about his "mother" he knocks him out and wins the cham-
pionship. The gamblers kidnap him. Miss Robson and
Fields, who were preparing to run away with Morris'
money, go to his rescue ; they save him, turn back his money
to him, and confess everything. Instead of turning them
away, he compels them to get married and then adopts
them as his parents ; and he marries Jane Wyman.
Dalton Trumbo wrote the story, and Richard Macanh
and Jerry Wald, the screen play; Lew Seiler directed it.
and Sam Bischoff produced it. In the cast are Sidney Toler.
Winifred Harris, Morgan Conway, Ward Bond, and others.
Not particularly edifying for children. It will do for ado-
lescents and adults. Class B. Tempo, fairly fast.
"6,000 Enemies" with Walter Pidgeon
and Rita Johnson
(MGM, June 9; time, 61 min.)
A fair program prison melodrama, suitable mostly for the
action fans. As far as they are concerned, it has plentiful
excitement, such as a prison break and fights ; and it should
hold them in suspense owing to the danger to the hero, one
of the prisoners. The story is, however, so far-fetched that
discriminating audiences may find it slightly ridiculous.
And, although one wants to sympathize with the hero, one
finds this difficult because of the indifferent way in which
the part has been handled. The most sympathetic character
is played by Paul Kelly, as the prison doctor, who tries to
help the hero. The romance is of slight importance : —
Walter Pidgeon, District Attorney, is famous because of
the number of convictions he had obtained. Rita Johnson,
one of the persons he had sent to prison, is unable to con-
vince any one that she was innocent. When Pidgeon himself
is framed on a bribe charge by Harold Huber, a gangster,
and is convicted and sent to prison, he realizes that inno-
cent persons could be convicted. Kelly, the prison doctor,
warns Pidgeon of his danger because of his many enemies,
men he had convicted. The prisoners, led by Nat Pendle-
ton, do everything they can to make life miserable for
Pidgeon ; but he overcomes their antagonism when he
shows his courage in a bout with Pendleton. He manages to
talk to Miss Johnson, who was at the same prison, and to
get her side of the story ; he promises to help her. In the
meantime, his young brother (John Arledge), who had
been trailing Huber and had obtained valuable information,
rushes to the prison to tell Pidgeon about it. He is killed by
the gangsters just as he approaches the prison entrance ;
but the prison guards capture the gangsters. In the excite-
ment that follows, the prisoners start a break. Quick think-
ing on Pidgeon's part prevents real trouble. Eventually
both he and Miss Johnson are cleared, and they marry.
Wilson Menard and Leo L. Stanley wrote the story, and
Bertram Millhauser, the screen play; George B. Seitz di-
rected it, and Lucien Hubbard produced it. In the cast are
Grant Mitchell, J. M. Kerrigan, and others.
Unsuitable for children ; suitable for adolescents and
adults. Class B. Action, pretty fast.
"It Could Happen to You" with Stuart Erwin
and Gloria Stuart
(20th Centuiry-Fox, June 30 ; time, 71 min. )
Here is a picture that, despite its lack of star names, is
very entertaining. It may be difficult to attract patrons to
the box-office, but once in, there is no doubt that they will
be entertained. It starts off delightfully, in a natural, down-
to-earth manner, and then develops into a comedy-drama
that holds one's interest to the very end. The writing, direc-
tion, and acting are all good : —
Gloria Stuart, married to Stuart Erwin, is unhappy be-
cause Erwin gave all his ideas to Douglas Fowlcy, who
worked with him at an advertising agency owned by Ray-
mond Walburn. Fowley progressed, but Erwin stayed in
the same place. Miss Stuart, learning that Walburn was
giving a party for his college alumni, to which Fowley had
been invited, insists that Erwin attend, even though he was
not invited. Erwin, by suggesting that he would stop giving
Fowley ideas, induces him to take him to the party. The)
have a good time, get slightly tipsy, and leave for home.
On the way, they stop at a cafe for a drink. After Erwin
returns, Miss Stuart remembers she had left her purse in
the car, and goes down to get it. She is shocked when she
finds in the car a dead woman. Erwin, being innocent, calls
in the police ; but they arrest him on a murder charge. Miss
Stuart decides to take matters into her own hands. She
visits a famous lawyer who had been at the party and
threatens to expose the fact that there had been chorus girls
at the party unless he handled her husband's case. In the
meantime, Walburn promises Erwin a promotion and in-
crease if he would not involve him and his friends ; the
friends send Erwin expensive gifts. Miss Stuart and Fow-
ley finally solve the case and help the police capture the
murderer. Frwin is happy at the way things turned out.
Charles Hoffman wrote the story, and Allen Rivkin and
Lou Breslow, the screen play; Alfred Werker directed it.
and David Hempstead produced it. In the cast are June
Gale, Richard Lane, Clarence Kolb, Paul Hurst, and others.
Because of the murder, unsuitable for children. Suitable
for adolescents and adults. Class B. Tempo, fairly fast.
96
HARRISON'S REPORTS
June 17, 1939
go to the penitentiary for a year or two for tax evasion, at
least his life would be spared, she, on the advice of her hus-
band's lawyer, gives his whereabouts away to the Federal
authorities and cooperates with them in his conviction. But
what a shock it is to her when he is sent to Alcatraz for ten
years ! By this time, the lawyer had become infatuated with
her. To avoid him, she changes her name and gets a job in
a cabaret as a singer. In a short time, she falls in love with
the owner of the cabaret. Her husband escapes from prison
and goes to the cabaret. When he sizes up the situation, he
leaves. The following morning the lawyer is found dead,
and his body in the river. The young wife realizes that her
husband had made a sacrifice for her.
Comment : There is confusion of loyalties in this story.
Can the spectator feel sympathy witli a woman who will
make such a blunder as to send her husband to jail for ten
years, even though her motive was, from her own point of
view, worthy ? Even if one would condone her act, the fact
that she fell in love with somebody else afterwards is
enough to deprive her of what little sympathy she could get.
The husband is an unsympathetic character all the way
through, and in the end he commits murder and, in addition,
takes his own life. The lawyer is a scoundrel. The only
person who seems to be satisfactory is the cabaret owner.
But his part is inconsequential.
Forecast : The story, unless the characterizations and the
plot are altered, cannot make an entertaining picture. As far
as its box office performance is concerned, it will depend to
some extent on the popularity of the male lead.
Hal Roach Productions
"THE HOUSEKEEPER'S DAUGHTER," a story by
Henderson Clarke, a comedy-melodrama, with Joan Ben-
nett and Adolphe Menjou in the leading parts, to be directed
by Mr. Roach himself: Beautiful Hilda persuades Robert
Randall to rent Reverend Maxon's house in Greenwich
Village, in which house her mother acted as a housekeeper.
The excuse Robert gives to the Reverend is that he wanted
to work on a thesis. To enable himself to pay the rent,
Robert takes in as boarders three of his newspaper pals —
Pete, Ed, and Deacon Ezra. Between drinks and flirtations,
all four are engaged in tracking down a mysterious mur-
derer. Before long, Robert finds himself in love witli Hilda.
Unfortunately, Manny, a racketeer living in the neighbor-
hood, too, becomes infatuated with her, and plans to kidnap
her. But the servant poisons Manny's coffee, Pete falls
asleep with a lighted cigarette and sets the house afire,
Hilda's father returns rich to claim his wife and daughter,
and Robert decides to do the right thing by "our Nell"
(Hilda).
Comment : It is just one of those stories that make a pic-
ture the quality of which depends mostly on the work of the
screen-play writer, and, after a good script is prepared, on
casting and good direction.
Forecast : In all probability this story should make a pic-
ture fairly good in quality.
"OF MICE AND MEN": This story was discussed
editorially in last week's issue.
"CAPTAIN CAUTION," by Kenneth Roberts
("Northwest Passage"), a sea story unfolding at a period
of time when there was no law and order on the high seas —
in 1812. It deals with Dan Marvin, a sailor, who, when Cap-
tain Dorman dies, takes charge of the ship, planning to
marry Corunna, the Captain's daughter, after reaching port.
But they are attacked by a British brig and taken prisoners.
In the British ship, Dan meets Slade, an ex-slaver, and
Argandeau, a French Captain. They escape together, and
they regain Corunna's ship, which she plans to sail tor
France against Dan's advice. Slade sells the information to
the British and a few days later the ship is attacked and
captured. Dan, to save lives, surrenders it. Slade makes
Corunna believe that Dan had double-crossed her, and per-
suades her to follow him to Paris. With Corunna's help,
Slade outfits a ship, but what is her dismay when she at last
finds out that Slade had been working with the British !
Slade attacks an American ship, but it happens to be the
ship that was commanded by Dan, who, with other prison-
ers, had escaped and outfitted an American ship. Dan defeats
Slade.
Comment : There is fast melodramatic action all the way
through. Dan is a sympathetic character. If produced on a
large scale, the picture should turn out also spectacular.
Forecast : The story should make a picture good to very
good in quality, with the box office results depending on
the leads.
"TURNABOUT," by Thorne Smith ("Topper" and
"Topper Takes a Trip"), a fantastic story dealing with a
married couple (Tim and Sally) who are dissatisfied with
each other: the wife thinks that the husband's job is a
cinch, and the husband thinks that the wife does nothing
but sleep till noon and do nothing the rest of the day. But
Ram, the Egyptian ornament-god, comes to the rescue : he
transfers the wife's self into the husband's body, and the
husband's into the wife's body. Tim, as a woman, does the
home work, and Sally, as a man, goes to the office and does
Tim's work. "His" feminine voice startles the office work-
ers, and when "he" uses the ladies' room the office is thrown
into an uproar. The boys say among themselves that they
had never thought that of Tim. Then comes the shock:
"Tim" becomes pregnant. "He" doesn't like the idea, of
course, but what can he do about it? Nine months later,
Tim, with a good cigar in his mouth, has a baby. Satisfied
that he had done a good job, the Egyptian god transforms
both into their former selves.
Comment : Only a person who has lost all sense of pro-
portion would think that a. story such as this would make a
good entertainment. It seems to be one of Hal Roach's
"flights of fancy."
Forecast : No hope for this. The idea is too vulgar.
Edward Small Productions
• "KIT CARSON, AVENGER," the Evelyn Wells news-
paper serial that appeared in nine big-city Hearst news-
papers with a circulation of ten million, with Joel McCrea,
Henry Fonda, and Francis Dee. It was also dramatized on
the air over 54 stations of the CBS chain, with a listening
audience of 17,000,000. It is an adventure melodrama, un-
folding in the days when the west was practically still a
wilderness and when California was yet part of Mexico,
and dealing with a historical character, a man who helped
Freemont, a U. S. Army officer, explore and map a large
part of the west, including Oregon and California; he
helped Freemont also take over California, when that officer
fought the M exicans without the U. S. Government's
authority.
Comment : The period of American history "Kit Carson,
Avenger" deals with is extremely fascinating. It touches on
Sutter and even President Lincoln. There is fast action all
the way through, many a thrilling situation, and no little
human interest.
Forecast : If Edward Small should produce this picture
on a large scale, there is no reason why it should not turn
out either very good or excellent in quality, with very good
box-office results.
"MY SON, MY SON!" the Howard Spring best seller,
dealing with the hopes of two fathers, close friends, for their
sons. The son of the one father turns out good, but the son
of the other turns out worthless. Tragedy is their lot when
the good son (Rory) is killed by the bad son (Oliver). A
year later the papers are full of a Manchester murder, which
is traced to Oliver. Thus the hopes of the two fathers are
shattered. Perhaps they will visit the grave of Rory in
Ireland, to say "good-bye" to their sons together, and to
bring back to memory the night before their sons were born,
when in pride and in a little parental blindness they were
telling each other what they would do with their sons.
Comment : There is deep human interest in this story.
Some of the situations are heart-rending. The action keeps
one interested intensely from start to finish.
Forecast : Mr. Small has an excellent piece of property in
this novel, and if he should give it the proper care he should
be able to make an outstanding picture with it, both in qual-
ity as well as box-office performance.
"TWO YEARS BEFORE THE MAST," an adven-
ture sea melodrama, Henry Dana's old novel, which sold
more than 1,300,000 copies in the past century, and has been
translated into twenty-six languages. The hero of this
story sails on The Pilgrim, learns to eat salt junk and hard
bread, sees men slip overboard in icy waters, battles with
icebergs off Cape Horn, sees men flogged so mercilessly for
violating the laws of the sea that his blood runs cold, visits
lands where men made free use of opium, drifts in becalmed
waters under burning suns, dances at gay fiestas and, in the
color-splashed ports where conquistadores once roamed the
Spanish Main, makes love to laughing senoritas.
Comment : There are good possibilities in this story.
There is fast action, and thrilling as well as adventurous
situations, and an opportunity for heroics.
Forecast : If produced on a large scale, this story should
make a very good picture, with the box office results de-
pending to a substantial extent on the popularity of the
players.
Entered as second-class matter January 4, 1921, at the post office at New York, New York, under the act of March 3, 187S.
Harrison's Reports
Yearly Subscription Rates : 1270 SIXTH AVENUE Published Weekly by
United States $16.00 „, i R1 « Harrisons Reports, Inc.,
U. S. Insular Possessions. 16.50 W»m lOl^ Publisher
Canada 16.50 New York, N. Y. P. S. HARRISON, Editor
Mexico, Cuba, Spain 16.50 . „ . .
Great Britain 15.75 A Motion Picture Reviewing Service Prf5h,„h^ t„i. 1
Australia, New Zealand, Devoted Chiefly to the Interests of the Exhibitors Established July I, 1S19
India, Europe, Asia .... 17.50
„ r.m Its Editorial Policy: No Problem Too Big for Its Editorial Circle 7-4682
6sc a ^opy Columns, if It is to Benefit the Exhibitor.
A REVIEWING SERVICE FREE FROM THE INFLUENCE OF FILM ADVERTISING
Vol. XXI SATURDAY, JUNE 24, 1939 No. 25
The Code Withdrawn Before Convention Vote
The Code of trade practices, final draft of which was
dated June 10, was withdrawn by the distributors at the
Thursday afternoon session of the Allied convention,
meeting at the Nicollet Hotel, in Minneapolis, before the
convention had had a chance to vote on it. Shortly after
chairman Cole had read the exhibitor negotiating commit-
tee's report rejecting it as insufficient, Mr. W. F. Rodgers,
acting chairman of the distributor negotiating committee,
rose and withdrew the code, stating at the same time that the
distributors would refuse to confer further with Allied
representatives.
Mr. Rodgers employed the word "we." This led some
Allied leaders to express a doubt whether he meant all the
distributors or only his company, MGM ; but in view of the
fact that, just prior to announcing the withdrawal of the
code, Mr. Rodgers had an impromptu conference with
Messrs. Sears and Montague, two distributor-members of
the committee, as well as with representatives of all the dis-
tributors present, it may be taken for granted that he meant
all the distributors.
Mr. Rodgers took the exhibitor committee's report as a
reflection on his integrity. He worked so conscientiously
and so hard to bring about a workable instrument, that its
rejection wounded his feelings.
There is not an exhibitor who has come in contact with
Mr. Rodgers but feels that he is a man of the highest integ-
rity. But in a matter of this kind, in which the views are so
conflicting, one should be guided, not by feelings, not by
one's affection or admiration for the persons involved, but
solely by the facts of the case. Does the report of the exhi-
bitor negotiating committee contain any misstatement of
facts important in determining the Code's practicability ?
If it does, what are they? The issues involved are too
great to be determined in any other way.
Even if the Code had a fighting chance, the blunders made
by its proponents killed the possibility for a favorable vote.
The distributors brought into the controversy irrelevant
issues, giving the exhibitors an opportunity to contravert
them. The "Government regulation" bugaboo is one of
them. No sooner did Ed. Kuykendall finish his tirade against
the Neely Bill as being government regulation than he advo-
cated government regulation on another subject: he urged
the enlisting of the aid of the restaurant and of the radio
people to induce the Government to regulate ASCAP. Be-
sides, it is not so wise for them to decry Government regu-
lation when they are now rushing to Secretary of Commerce
Hopkins to "regulate them," as Mr. Myers put it, so as to
bring an end, no doubt, to the Government's suit.
Another blow to the chances of the Code was the state-
ment made by Gradwcll Sears at the Wednesday afternoon
session : he admitted that there is nothing wrong in the dis-
tributors' action in trying to get as much money for their
pictures under the Code as they received last season. Mr.
Yamins pinned him down so that there was no doubt in any-
one's mind as to what he meant. This statement he made
during a discussion in which the exhibitors accused the dis-
tributors' field forces of "chiseling"; the exhibitors, par-
ticularly Mr. Steffes, accused them of telling the exhibitors
that the Code would not stop them from getting as much
money for their pictures as before, so as nullify the can-
cellation provision; also, from forcing on the exhibitors
shorts, news and trailers.
It is true that Mr. Rodgers, speaking for all the distribu-
tors who have taken part in the negotiations, assured the
convention that any salesman who would he found guilty of
"chiseling" would be discharged at once. But the damage
had already been done ; most exhibitors could not dispel
their doubts as to the workability of the Code.
The announcement by Paramount that it would go into
the trailer business did not help the Code either ; many ex-
hibitors have said : how can Paramount go into the trailer
business when it is negotiating for a Code one of the pro-
visions of which stipulates that the exhibitor shall not be
compelled to buy trailers and other short subjects in order
that he might obtain the features? They feel that Para-
mount can make no profit from its trailers unless its' sales-
men compel the exhibitors to buy them.
What contributed to hurting Mr. Rodgers' feeling was,
no doubt, also Sidney Samuelson's bringing in the name of
Marcus Loew. Samuelson's reference to Mr. Loew, whose
memory every one in the industry reveres, was ill-thought
and unnecessary ; it could not contribute to solving present-
day problems.
It is the belief of this paper that the lapse of a few days'
time will soothe feelings, and that a resumption of negotia-
tions will be attempted. Before any one can hope for success,
however, two problems must be faced : block-booking, with
its twin brother, blind-selling, and theatre divorcement ;
otherwise, it is unlikely that 'the new negotiations will suc-
ceed, not at least as long as the Government's case is on the
calendar, and as long as there is hope that the Neely Bill
will become a law.
THE OBJECTIONABLE PARTS
OF THE CODE
It is the intention of this paper to publish, beginning today,
those parts of the code that were found by the exhibitor
negotiating committee objectionable; also the parts of the
report dealing with them.
Let it be said at this time that the report was the unani-
mous decision of the negotiating committee members includ-
ing the alternates ; that it was approved by the Allied board
of directors unanimously ; that every member of the board
signed the minutes approving the report and transmitting
it to the convention ; that, aftjr Mr. Rodgers had withdrawn
the Code and the convention indicated that it did not want
to bother voting on it, the convention, on a motion by an
exhibitor, approved the report of the negotiating committee
by a rising vote.
The grounds on which the committee recommended the
rejection of the distributor trade practice proposals were,
copying from the report, the following ;
"(1) They do not provide an effective remedy for the
major abuses of which Allied States Association has com-
plained and for the correction of which it has waged a long,
aggressive and increasingly successful campaign; (2) the
proposals as drafted and submitted by the distributors do
not fully and accurately reflect the substance of the negotia-
tions and representations made by the dstributors in the
course thereof; (3) reports coming from many sections of
the country show convincingly if not, indeed, conclusively,
that the distributors already arc taking steps to circumvent
and nullify the moderate concessions offered; and (4)
acceptance of the proposals, particularly in view of the
preamble thereto, would handicap the exhibitors in seeking
further relief from oppressive and monopolistic trade prac-
tices, would hinder the Government in the prosecution of
pending actions under the anti-trust laws and would supply
the distributors with additional ammunition with which to
combat the Neely Bill and other remedial legislation."
(To be continued next ivcck)
98
HARRISON'S REPORTS
June 24, 1939
"Clouds Over Europe" with Laurence
Olivier, Ralph Richardson
and Valerie Hobson
(Columbia, June 20; time, 78 miu.)
Good entertainment for class audiences. Those who ap-
preciate fine acting and intelligent dialogue will find this
comedy-melodrama highly entertaining. But, since it was
produced in England with players who, with the exception
of Laurence Olivier, are not well known here, it is doubtful
if it will attract the masses; furthermore, the accents are
.so "thick" that at times it is difficult to understand what
the players are saying. The story itself offers, aside from
comedy, an exciting melodramatic twist revolving around
espionage. Although the action is pretty far-fetched, it is so
imaginative that it holds one's attention well. Particularly
thrilling are the closing scenes, in which the foreign agents
are outwitted. The romance is of slight inmortance : —
Olivier, a pilot who worked for a large British aeroplane
company, feels certain that there was something peculiar
about the disappearance of two of the company's test ships.
His opinion is shared by Ralph Richardson, a British secret
service agent. But every one else thinks they are ridiculous.
Both Olivier and Richardson are annoyed by Valerie Hob-
son, Richardson's sister, who tried to obtain information
from them for her newspaper. Richardson discovers that
George Curzon, who worked for the aeroplane company,
was in the pay of the foreign agents ; but before he could get
any information from him, Curzon is killed. Olivier is
chosen to pilot another test plane that carried an important
attachment which meant much to British aviation. When
the plane flies over the ocean, it meets with the same fate as
the other planes; namely, the foreign agtnts, who were
waiting in a ship nearby, incapacitate it by means of an
electric ray, thereby forcing it to land. They then haul it up
and make the men prisoners. In the meantime, Richardson
had worked out the solution and had induced his chief to
use a navy destroyer to rush to the enemies' ship. They
arrive in time to save Olivier and the other men, who were
putting up a good fight. Both Richardson and Olivier re-
ceive praise for their work. Miss Hobson is happy, for she
and Olivier had fallen in love with each other.
Brock Williams, Jack Whittingham and Arthur Wim-
peris wrote the story, and Ian Dalrymplc, the screen play ;
Tim Whelan directed it, and Irving Asher produced it. In
the cast are George Merritt, Gus McNaughton, David Tree,
and others.
Suitability, Class A. Tempo fast.
"Maisie" with Ann Sothern
and Robert Young
{MGM, June 23; time, 74 miu.)
A fair adult comedy-drama of program grade. Neither
the plot nor the characterizations are particularly appeal-
ing ; as a matter of fact, the character portrayed by Ruth
Hussey, is particularly offensive, for she is the cause of
her husband's suicide. Ann Sothern gives a good perform-
ance, provoking laughter by her wisecracks. But parts of
the dialogue and some of the situations are suggestive : —
Ann Sothern, a showgirl stranded in a small western
town, attaches herself to Robert Young, a ranch foreman,
after he had wrongfully accused her of stealing his wallet.
She insists that he put her up at the ranch for the night;
she promises to leave in the morning. But the next morning
when the ranch owner (Ian Hunter) and his wife (Miss
Hussey) arrive for a visit, she pretends to be the maid,
thereby compelling Young to keep her. She tries to win
Young's favor, but he, having had a sad experience with
one woman, is reluctant to fall for her charms ; eventually
he succumbs. Miss Sothern finds out that Hunter was un-
happy because he knew that his wife was unfaithful ; as a
matter of fact, she finds Miss Hussey in a cabin with a
man who had followed her out west. Disgusted, she decides
to leave. Miss Hussey leads Young to believe that Miss
Sothern was leaving because she had tried to win Hunter
and he had repulsed her. Young and Miss Sothern quarrel
and part. Hunter, having found out about his wife's lover,
kills himself after first having written a letter to his
lawyer. The sheriff arrests Young on a murder charge.
Both Miss Sothern and the lawyer arrive in time to clear
Young. The letter indicates Hunter's intention to kill him-
self; in it he had also willed the ranch to Miss Sothern.
She and Young are happily united.
The plot was adapted from the novel by Wilson Collison ;
Mary C. McCall, Jr., wrote the screen play, Edwin L.
Marin directed it, and J. Walter Ruben produced it. In the
cast are Cliff Edwards, Anthony Allan, and others.
Unsuitable for children and adolescents. Adult fare.
Class B. Tempo, somewhat slow.
"S-O-S, Tidal Wave" with Ralph Byrd
and Kay Sutton
(Republic , June 2; time, 61 miu.)
A fair program melodrama, suitable for the action fans.
Although the ending is highly exaggerated, it presents a
novel idea and should, therefore, hold the attention of an
average audience. As a matter of fact, the picture touches
on a subject that is of interest to many— that of television.
It shows to what uses television may be put eventually. The
angle dialing with crooked politicians and murderers is
routine and somewhat unpleasant because of several mur-
ders. Romance and comedy are of minor importance : —
Ralph Byrd, popular television news commentator, re-
fuses, despite the pleas of his good friend (George Barbicr),
a radio comic, to enter into political discussions during his
broadcast. Barbier wanted him to denounce Ferris Taylor,
a crooked politician, who was running for Mayor and who
was controlled by a vicious gangster (Marc Lawrence).
Byrd finally decides to do something ; but, when Lawrence
threatens harm to his wife ( Kay Sutton ) and child ( Mickey
Kuhn), Byrd steers clear of the subject. Barbier decides to
carry on the light himself. Byrd quarrels with his wife when
she remonstrates with him; he leaves their home in anger.
Barbier leaves for the studio in his car, with Miss Sutton
and Mickey as his guests. A truck, hired by Lawrence,
crashes into the car, killing Barbier and injuring Mickey.
Byrd is enraged and decides to do something. While run-
ning off some film in which Barbicr had appeared, Byrd
comes upon a reel in which Barbier had given all the facts
surrounding the criminal record of Taylor. He televises this.
Lawrence, realizing that his candidate would lose, goes to
a rival radio station, where he has a film projected by tele-
vision, making it appear as if a tidal wave that had sup-
posedly hit New York was on its way. The people become
panic stricken and keep away from the polls. But Byrd un-
covers the trick, quiets the citizens, and asks them to vote.
Lawrence is killed by a truck. The reform candidate wins.
James Webb wrote the story, and Maxwell Shane and
Gordon Kahn, the screen play; John H. Auer directed it,
and Armand Schaefer produced it. In the cast are Frank
Jenks, Dorothy Lee, Oscar O'Shea, and others.
The murders make it unsuitable for children. All right for
adolescents and adults. Class B. Tempo, pretty fast.
"The Girl and the Gambler" with Leo
Carrillo, Steffi Duna and Tim Holt
( RKO, June 16; time, 63 min.)
Just a mildly entertaining program comedy-melodrama.
It was produced twice before, once by United Artists in
1928 under the title "The Dove," and then by RKO in 1932
under the title "Girl of the Rio," in which Leo Carrillo.
who appears also in this version, was starred. Neither one
of those pictures was unusual nor is the present one any-
thing to rave about, for time has not helped the story much.
As a matter of fact, it is pretty trite fare, slow-moving in
parts and boresome in others. Carrillo, as the conceited
bandit, provokes some laughter ; but his bragging and mis-
use of the English language begins to wear on one after a
while. The incidental music and dancing is fair. There is
some excitement in the closing scenes : —
Carrillo, a Mexican bandit who robbed the rich in order
to help the poor, thinks he is a great man. Hearing from
one of his men that there was a beautiful dancer (Steffi
Duna) at a border cafe who spurned everyone's attentions,
Carrillo makes a bet with him that he could win the girl's
affections. But she and Tim Holt, a croupier at a casino,
loved each other. When Carrillo finds out about this, he
orders one of his men to pick a fight with Holt and then
kill him : but Holt is too quick for the man, and shoots him
instead. He is arrested. Miss Duna pleads with Carrillo to
help Holt escape, promising to go away with him if he
should do so. Carrillo does as she asks, and she leaves with
him. But Holt, instead of running away, follows Carrillo
and confronts him. Carrillo places him against a wall, in-
structing his men to kill him. But when Miss Dtma taunts
him by calling him a coward, he calls off the order to kill
Holt. In the meantime, when the man with whom he had
made the bet arrives. Miss Duna pretends to love Carrillo
so that he would win the bet. In that way she manages to
win his sympathy and he permits her to leave with Holt.
The plot was adapted from the play by Willard Mack
and the story by Gerald Beaumont ; Joseph A. Fields and
Clarence U. Young wrote the screen play. Lew Landers
directed it, and Cliff Reid produced it. In the cast are
Donald MacBride, Chris-Pin Martin, Edward Raquello,
and others.
Not for children. Harmless for adults and adolescents.
Class B. Tempo, fairly fast.
June 24, 1939
HARRISON'S REPORTS
99
"Mr. Moto Takes a Vacation"
with Peter Lorre
{20th Century-Fox, July 7 ; time, 62 mm.)
A good addition to the "Moto" series. It is fast-moving
and exciting ; and, since the mystery is not solved until the
end, it naturally holds one's attention well. There are good
comedy interludes, supplied by a young excitable English-
man (George P. Huntley), who tries to assist "Mr. Moto,"
but ends up most of the "time by being a nuisance. Although
the action may seem slightly far-fetched, it is not tiresome
since it moves at a fast pace. Peter Lorre gives his usual
competent characterization of the detective, who cleverly
outwits the crooks. The romantic interest is unimportant : —
When John King, an archeologist, finds the crown of the
Queen of Sheba, which contained valuable jewels, Lorre de-
cides to accompany him back to America with the treasure.
He felt certain that a famous jewel thief (Joseph Schild-
kraut), for whom he was searching, would make an attempt
to steal it. And he was right, but, in addition to Schildkraut,
there were two other gangs trying to steal the crown. No
sooner does the boat dock than the first attempt is made to
steal it. Huntley, in his bungling fashion, outwits the crooks.
The crown is then taken to a museum, where it is sup-
posedly well guarded. Lorre, knowing that Schildkraut
would show up, keeps a close watch. He finally discovers
that Schildkraut was posing as an old philanthropist, who
had partially financed the expedition. He exposes him and
has him arrested. In the meantime, he outwits the other
two gangs. King is happy when everything is cleared up,
thus giving him a chance to pay attention to his fiancee (Iva
Stewart), secretary to the curator.
Philip MacDonald and Norman Foster wrote the screen
play, and Mr. Foster directed it. In the cast are Lionel
Atwill, Virginia Field, Victor Varconi, John Davidson,
and others.
Not for children. Suitable for adolescents and adults.
Class B.
"Tarzan Finds a Son" with Johnny
Weissmuller, Maureen O'Sullivan
and John Sheffield
{MGM, June 16; time, 82 win.)
The "Tarzan" fans, both young and old, should find this
exceedingly entertaining. It has all the excitement of the
previous "Tarzan" pictures, in addition to human interest
and comedy. One of the most delightful features is the
introduction of a new character, that of six-year old John
Sheffield ; the child is a remarkable swimmer, keeping up
with Weissmuller in both underwater and ordinary swim-
ming exhibitions. Furthermore, he plays his part naturally.
The closing scenes are thrilling, holding one in tense
suspense : —
Weissmuller (Tarzan) and his mate (Maureen O'Sulli-
van) are delighted when they find in the jungle a baby, the
sole survivor of an aeroplane crash. Weissmuller trains the
boy so well, that at the age of six he is as adept as his
foster father both in swimming and swinging from tree to
tree. The two have delightful times together. Their peace
is upset when a party, headed by Ian Hunter, Frieda Ines-
court, and Henry Stephenson arrive. They were the rela-
tives of the boy's parents, and had journeyed to the jungle
to obtain evidence as to the accident so that they might
claim the fortune rightfully belonging to the boy. Stephen-
son realizes that John was the child of his relatives.
Hunter, when he learns this, is determined to get the boy,
his purpose being to control the fortune as the boy's guard-
ian. Realizing that Stephenson felt as did Weissmuller, that
the boy belonged in the jungle, Hunter kills Stephenson,
and then forces Miss O'Sullivan to accompany them out of
the jungle with the boy. Against her advice, he takes a
trail leading to a cannibal tribe. They are all captured. John
escapes and rushes to Weissmuller for help. Weissmuller,
with the aid of a herd of elephants, charges the cannibal
village. Hunter had already been killed, but the others
were safe. He sends Miss Inescourt on her way, but with-
out John. Miss O'Sullivan had been injured. lie tenderly
tares for her, taking her and John back to their home.
Cyril Hume wrote the screen play, Richard Thorpe di-
rected it, and Sam Zimbalist produced it. In the east are
Henry Wilcoxon, Laraine Day, Morton I.owry, and others.
Suitability, Class A. Tempo, pretty fast.
"Inside Information" with June Lang,
Dick Foran and Harry Carey
{Universal, June 2 ; time, 61 min.)
A fair program crook melodrama, revolving around the
work done by police in rounding up criminals and breaking
up crime rings. The story has been developed in the routine
manner; nevertheless it should prove satisfactory as a
second feature where action melodramas are liked. Even
though there is no mystery as to the identity of the gangster
leader, it holds one's attention fairly well because of the
interesting methods employed by the police in rounding up
the gang. The closing scenes are pretty exciting. A romance
is worked into the plot, but it is of minor importance :■ —
Dick Foran, a rookie cop, believes in scientific methods
of crime detection ; but Harry Carey, a police Captain of
the old school, refuses to take Foran seriously. Carey finds
himself in an embarrassing position because of his inability
to find any clues as to the identity of the gang of jewel
thieves who had been terrorizing the city. Foran surprises
everyone when he finds a clue in the form of a footprint
which he traces to one of the criminals. Carey promotes
him to detective work. But some of his ideas do not work
out; he so annoys Carey, that he is ordered off the jewel
case. Foran, despite orders, continues working on the case ;
he is helped by Joseph Sawyer, another detective, who had
faith in Foran. He eventually gets the information he
needed ; and, with the help of Carey and other policemen,
he traps the leader and breaks the gang. June Lang, Carey's
niece, is proud of Foran, with whom she had fallen in love.
Martin Mooney and Burnet Hershey wrote the story,
and Alex Gottlieb, the screen play ; Charles Lamont di-
rected it, and Irving Starr produced it. In the cast are Mary
Carlisle, Addison Richards, Joseph Sawyer, Grant Rich-
ards, and others.
Unsuitable for children. It will do for adolescents and
adults. Class B. Tempo, pretty fast.
"Five Came Back" with Chester Morris,
Kent Taylor and Lucille Ball
{RKO, June 23 ; time, 74y2 min.)
A fair program melodrama. The production is good and
the acting competent ; but the story is depressing. In 1938,
Universal produced a picture with a similar theme called
"Sinners in Paradise," which, according to a box-office
checkup, rated from fair to poor. As in the other picture, the
story offers only mild human appeal, and, since the action is
confined to practically one set, it is slow-moving. Towards
the end, however, the spectator is touched because of the
plight of three characters, who voluntarily choose death in
order to save the others. There are two romances, both de-
veloped in a routine way : —
Chester Morris, pilot, and Kent Taylor, co-pilot, start out
on their trip to Panama with the following passengers :
Lucille Ball, a young girl with a shady reputation, C.
Aubrey Smith, a college professor and his nagging wife
(Elisabeth Risdon), Wendy Barrie and Patric Knowles.
who were eloping, John Carradine, a police officer, with
Joseph Calleia, his prisoner, supposedly a dangerous radical,
and Allen Jenkins, a gunman, with the young son of his
chief; also with a young steward. Encountering motor
trouble during a severe storm, Morris is forced to land the
plane in the jungles. It is then that each one shows his true
character. Knowles takes to drink, abusing every one. This
disillusions Miss Barrie, who turns to Taylor for comfort.
Miss Ball displays affection for the young child, thereby
awakening Morris' interest in her. Calleia makes good sug-
gestions and works hard ; he becomes friendly with Smith
and his wife, who changes for the better. Carradine and
Jenkins are killed by a savage tribe when they wander away
from camp. Morris and Taylor work frantically on the
plane so as to get the others away before the savages would
get them. When it is finally fixed, they realize that it would
hold only five. Calleia and Smith and his wife choose to
remain, even though it meant certain death. Calleia is forced
to kill Knowles, who tried to get on the plane. Although he
had only two bullets left, he uses them to kill Smith and his
wife, which meant he would have to face the tribe alone.
Richard Carroll wrote the story, and Jerry Cady, DaltOh
Trumbo, and Xathanael West, the screen play ; John Far-
row directed it, and Robert Sisk produced it.
Too sombre for children. Suitable for adolescents and
adults. Class B. Tempo, somewhat slow.
100
HARRISON'S REPORTS
June 24, 1939
THE PRODUCER MEETINGS WITH THE
SECRETARY OF COMMERCE
Representatives of the major companies, including Mr.
Will H. Hays, have met several times in Washington with
Mr. Harry Hopkins, Secretary of Commerce.
No independent exhibitor seems to be able to find out
what the object of these conferences is, and no statement
has been issued by any of the major companies. It cannot
be an invitation to the Government to regulate the motion
picture industry, for at the Allied convention, and for sev-
eral years before it, Government regulation was the one
thing that they decried most loudly. Perhaps it is an effort
on their part to influence the Department of Commerce,
to induce the Department of Justice to drop the suit against
them now pending in the District Court in this city.
But this is mere speculation; the independent exhibi-
tors will not know until after representatives of the Allied
organization have conferred with the Secretary of Com-
merce. They were asked to meet him June 20, but because
they could not be present on account of the convention, the
conference will be held after July 4th. In the meantime, the
exhibitors have a right to demand from the producers a
prompt answer to the question : What's the purpose of the
meetings with the Department of Commerce?
TWENTIETH CENTURY-FOX
FORECASTS
"DRUMS ALONG THE MOHAWK," the Walter D.
Edmonds novel, an adventure melodrama of the North
America settlement days, starting with 177b and continuing
to 1784, with Henry Fonda and Nancy Kelly, as the stars,
and with John Ford directing ; to be produced in technicolor.
Comment : What has induced the producers to select this
book is undoubtedly the fact that it was a best seller, but
considerable altering in situation as well as characterization
has to be made before the story may be considered suitable
for the production of a good picture, for what is shown is
mostly suffering and misery. The scalpings and most of the
ki. lings will have, of course, to be eliminated, for the major-
ity of the present-day public have no stomach for such inci-
dents in an entertainment. The acts of some of the characters
are deplorable.
Forecast: There is all the way through impressive and
exciting melodramatic action, but its emotional appeal is
not so impressive. For this reason, the quality of the pic-
ture will depend largely on how skillfully the alterations
will be made. As it stands, the story cannot make better
than a good picture of fairly big magnitude. As to its box
office appeal, the outcome will depend on the fame of the
book, as well as the degree of popularity of the stars in
each locality.
"HOTEL FOR WOMEN," the story by Elsa Maxwell,
a romance.
The story deals with a heroine, who becomes jealous
when she sees the man she loves with another woman. She
becomes a model, and gains a reputation. To spite the hero,
she makes dates with his boss. But the boss' "flame" re-
sents the "newcomer" and, during a party at the boss' home,
to which party no one showed up except the heroine (the
time-worn trick), the "flame" enters and shoots the boss.
The hero enters at that moment to protect the heroine and,
thinking that it was she who had done the shooting,
takes the blame himself. But the wound is only superficial,
and everything is straightened out.
Comment : The story is old-fashioned, lacking completely
in originality. In the development of the plot, the time-worn
melodramatic method has been resorted to. What has in-
duced the producers to select this story for production is,
no doubt, Elsa Maxwell's association with society folk.
Forecast : There is hardly a possibility of making this
more than a "B" picture, of fair to fairly good quality, with
the box office results depending almost entirely on the fame
of the players who will take the leading parts.
"KING OF THE KHYBER RIFLES," Talbot
Mundy's story, a melodrama revolving around British mili-
tary activities in India, and dealing with intrigue as well
as heroism. The air arm of the fighting service is employed
in the development of the plot.
Comment: It is big-picture material. The action is fast,
and the heroics emotion-stirring. One of the situations
shows the hero risking his life to save the life of the man
who loved his fiancee. This situation moves one deeply.
The death of the hero, who loses his life while saving the
life of his rival, should, if handled well, prove deeply
appealing.
Forecast : The picture should turn out from very good
to excellent in quality, and should do equally well at the
box office.
"LITTLE OLD NEW YORK," the Rida Johnson
Young novel, with Alice Faye, a romance unfolding in old
New York, in the days of the paddle wheel steamboat, and
the gray top hats. It deals with a young Irish girl, who
leaves Ireland and, with her brother and father, comes to
America to claim the fortune that had been willed to her
and to her brother by their uncle.
Comment : This novel was produced in 1920, with Marion
Davies in the leading part. Sydney Olcott directed it. The
picture made an unprecedented success at the box office.
There is considerable human interest in the story, and the
romance is charming. There is a chance also for plentiful
comedy.
Forecast : The picture should turn out either good or
very good in quality, with the box office results commen-
surate with the popularity of Miss Faye.
"THE RAINS CAME," a drama with a melodramatic
twist, the novel by Louis Bromfield, with Myrna Loy,
Tj rone Power, and George Brent. It is the story of an
English Earl, a World War veteran, who goes to India
to find happiness. There are sex doings ; a dam bursts,
causing great loss of life ; a plague breaks out, and there
are heroic deeds.
Comment : Up to the time of the flood, the action is not
of any particular interest, and the characters are colorless.
It is only after the flood that the story amounts to some-
thing.
Forecast : Before the story can make a good picture,
substantial alterations will have to be made, not only in
situation, but also in characterization. The hero will have
to be made more likeable. In all probabilities the picture
will be produced on a big scale. If so, it should turn out
either good or very good in quality, with equal results at
the box office.
"THE MARK OF ZORRO," with Tyrone Power, a
swashbuckling adventure melodrama, unfolding in the days
of California when it was under the Spanish rule, and deal-
ing with a hero, an aristocrat, who hated the iron rule of the
governing class. He goes about masked, ever present when
the weak needed him to punish the cruel oppressors. Thus
he becomes a great hero to the common people. Eventually
he wins over also the nobles, who aid him to overthrow the
cruel officials.
Comment: This picture was first produced in 1920, with
Douglas Fairbanks in the leading part. The action was fast,
made much faster by Mr. Fairbanks' agility ; he acted as if
he had wings on his feet, shooting in and out of the scenes
like a bullet.
Forecast : It is doubtful if Tyrone Power will fit in the
part of the hero as thoroughly as Mr. Fairbanks fitted, but
what he will lack in agility he may be able to make up in
youthfulness. He should be satisfactory for the part if an
equally popular actor but of athletic training cannot be sub-
stituted. The picture should turn out very good, with good
to very good box office results.
"SCOTLAND YARD," the Dennison Cliff play, a crook
melodrama dealing with a hero who, to escape from the
hands of relentlessly pursuing him Scotland Yard detectives,
enlists in the World War. His face is so shattered that,
when a plastic surgeon gets through with him, he is un-
recognizable. To hide his identity, he steals from the wallet
of Lord Usher, who was dying, his picture. He goes to
London and takes the Lord's place as the head of a bank.
But he is eventually recognized and caught. By this time,
however, Lady Usher had fallen in love with him. His own
love for Lady Usher effects his regeneration.
Comment : This play was made into a picture by the same
company once before — in 1930. Edmund Lowe starred in it.
In spite of the fact that it turned out a powerful picture, the
subject is hardly worthy of a repetition; the time that has
elapsed since it was first produced is not so great.
Forecast : The story may make a strong picture, but it
will be an unpleasant picture, and not very edifying. As to
its box office possibilities, that will depend on the leads. In
all probability it will be produced on a "B" budget.
IN TWO SECTIONS— SECTION ONE
Entered as second-class matter January 4, 1921, at the post office at New York, New York, under the act of March 3, 1879.
Harrison's Reports
Yearly Subscription Rates: 1270 SIXTH AVENUE Published W«eit*y by
United States $15.00 1 ftl 1 Harrison's Reports. Inc.,
U. S. Insular Possessions. 16.50 ROOm 1B" Publisher
Canada 16.50 New York, N. Y. P. S. HARRISON, Editor
Mexico, Cuba, Spain 16.50 . ,, iS _,. , _ . _ .
Great Britain 15.75 MotIon P,cture Reviewing Service . . , ....
Australia, New Zealand. Devoted Chiefly to the Interests of the Exhibitors Established July 1, 1919
India, Europe, Asia .... 17.60
,c„ „ rw-ir Its Editorial Policy: No Problem Too Big for Its Editorial Circle 7-4682
.sac a ^opy Columns, if It is to Benefit the Exhibitor.
A REVIEWING SERVICE FREE FROM THE INFLUENCE OF FILM ADVERTISING
Vol. XXI SATURDAY, JULY 1, 1939 No. 26
THE CODE'S OBJECTIONABLE PARTS
(Continued from last zeeck)
In last week's issue there was printed that part of the re-
port which gave a summary of the objections of the exhibi-
tors' negotiating committee. These objections the report dis-
cusses in detail, in the order in which they were enumerated.
"1. The Proposals Do Not Afford an Effective Remedy
jor Major Abuses. These major abuses were enumerated
in a memorandum presented by the Negotiating Committee
to the Distributors' Committee on October 27, 1938, and
are as follows: (a) Compulsory block booking and blind
selling; (b) ownership and operation of theatres by the
producer-distributors; (c) forcing of shorts, newsreels and
trailers; (d) designated playdates ; (e) unreasonable clear-
ance ; (f) selling away from an established customer; (g)
the 'right to buy' ; (h) overbuying ; (i) lack of availability
of prints; (j) coercion in the selling of pictures.
"The distributors' proposals carried out in good faith
would mitigate the evils of compulsory block booking by
granting a graduated cancellation privilege based on the
average film rentals paid. They would not abolish compul-
sory block booking ; on the contrary, they would perpetuate
it by requiring that an exhibitor, in order to secure the
right to cancel, must contract for all of the feature pictures
offered him at one time.
"The proposals provide no remedy whatever for blind
selling, the distributors having rejected all suggestions by
your Committee for the identification of pictures in the con-
tracts and for the allowance of an enlarged cancellation
privilege for unidentified pictures.
"The terms and conditions upon which a limited cancella-
tion privilege is offered are calculated to permit of circum-
vention and evasion and, as we shall later point out, the
indications are that the distributors are preparing to make
use of the obvious loopholes in the proposals.
"The distributors made it plain at the outset that they
were not willing to discuss the question of theatre divorce-
ment and, consequently, the proposals contain no provision
in reference thereto.
"The provision relating to the forcing of shorts, news-
reels and trailers contains conditions and limitations which
greatly impair the effectiveness thereof and which would
enable the distributors to deprive an exhibitor of the right
to arbitraie disputes arising thereunder by simply refusing
to accept his application.
"The provision against designated playdates on flat
rentals and guarantees as against percentage is utterly hol-
low and the provision for arbitrating the suitability of a
particular percentage picture for preferred playing time
conveys only the doubtful privilege of relieving the exhi-
bitor of that picture in order that the distributor may desig-
nate another in its place. The proposal offers no relief from
the increasing abuse of monopolizing all of the exhibitors'
preferred time, representing sometimes as much as 80%
of their total weekly revenue, with high percentage pictures.
"Provision is made for arbitrating clearance but this has
been marred by the insistence of the distributors — contrary
to assurances given your Negotiating Committee — that
they shall have the right to designate one member of the
board of arbitrators. In cases where the dispute is between
an affiliated theatre and an independent theatre, this parti-
cipation by the distributors would throw the board out of
balance.
"Selling away from an established customer is made
arbitrable but the many conditions attached to the provision
make it easy of evasion and of value only in case the distri-
butor acts in utmost good faith. The same comment is per-
tinent with respect to the provision that some run shall be
made available to an exhibitor applying therefor.
"The 'right to buy' as contended for by Allied and as
sought by the Government in the pending suit against the
Griffith Circuit and others, is not mentioned in the pro-
posals.
"Overbuying is arbitrable so far as the number of pic-
tures is concerned ; no authority is given the boards to
apportion the product on the basis of quality, thus guar-
anteeing the offending exhibitor his choice of the better
features and leaving for the complainant nothing but culls.
"Lack of availability of prints is not provided for. Arbi-
tration of contract disputes would not be helpful on this as
the distributors have so carefully protected themselves in
their contracts against demands for prints.
"The provision relating to coercion in the selling of pic-
tures contains terms and conditions similar to those in-
cluded in the provision with respect to the forcing of short
subjects which greatly impair its usefulness.
"2. The proposals as drafted do not conform to represen-
tations made during the negotiations. In Chicago, in Novem-
ber 1938, after the distributors had outlined to your Com-
mittee the nature and extent of the concessions they were
willing to grant, they announced that they would undertake
the task of reducing the same to writing as they wanted the
proposals to be stated in simple, understandable language
without the complications characteristic of lawyers' produc-
tions. The following are some of the instances in which the
proposals as thus drafted materially depart from the repre-
sentations made during the negotiations. (The following
references are to the draft dated June 10, 1939).
"Preamble, never discussed, appeared for the first time
in the March 30 draft. The significance of this innovation,
and its probable effect on the efforts of exhibitors to secure
additional relief, will be discussed later in this report."
The preamble referred to in the foregoing paragraph
reads as follows :
"The signatories hereto, being distributors, exhibitors
and organized groups of exhibitors of motion pictures,
hereby severally adopt the following as a code of fair trade
practice, hereby severally binding themselves to the observ-
ance of the principles, policies and practices set forth
herein in the licensing, distribution and exhibition of motion
pictures in continental United States."
The reference to this preamble later in the report is as
follows :
"The preamble, which appeared for the first time in the
March 30 draft, would require that exhibitors agree that
the provisions of the Code — including the continuation with
slight modifications of compulsory block booking and
illegally imposed clearance, not to mention many other
abuses — are the fair trade practices of the industry. More-
over, the effect of agreeing to the Code would be to in
effect validate all other practices observed in the industry
and not specifically mentioned in the Code."
The first tentative draft that had been submitted by the
distributors to the exhibitor groups early in December of
last year did not contain a preamble. As the exhibitor
negotiating committee's report states, it appeared for the
first time in the revised draft, which was submitted to the
exhibitors on Marcli 30, just a few days previously to the
hearings on the Neely Bill, which were held on April 3;
and since the authority of the Allied negotiating committee
had expired March 1, Allied never agreed to it. The dis-
tributors inserted it on their own authority.
This paper agrees with the Allied committee that it is
dangerous for an independent exhibitor to bind himself with
such a preamble.
"Page 3, subparagraph (d), providing that cancellations
not exercised in top brackets shall be relegated to the lowest
bracket. This was never mentioned in the negotiations and
appeared for the first time in the first draft, submitted to
us on January 16."
(Continued on last page)
102
HARRISON'S REPORTS
July 1, 1939
"The Saint in London" with George Sanders
(RKO, June 30; time, 72 min.)
This third picture in the "Saint" series, whicli was pro-
duced in London, is fair program entertainment. Although
it is somewhat slow in getting started, it gradually picks
up speed, ending in an exciting manner. As in the other
pictures, one is held in suspense because of the constant
danger to the hero, who courageously fights crooks. There
is some comedy, which is provoked by the hero's tough
companion, who enjoys a good fight. Most of the excite-
ment is concentrated in the closing scenes, when the gang
is rounded up. There is a suggestion of a romance, but it
culminates, as in the other pictures, with the hero taking
leave of the heroine : —
George Sanders, known as "The Saint," arrives in
London, where he contacts a friend who was connected with
the British Secret Service. He learns from him that a cer-
tain man was suspected of being a spy. And so Sanders sets
out to obtain the information his friend needed. But during
his investigations he comes upon other valuable informa-
tion : that this same suspicious character had kidnapped the
ambassador of a foreign country, and had compelled him
to sign an order for the printing of a large amount of
money. Sanders rescues the ambassador and hides him at a
boarding house ; but the plotters discover the hiding place
and kill the ambassador. This involves Sanders with Scot-
land Yard, for he was unable to give an explanation about
the whole aff air, fearing that if he did, the plotters would
get away. Eventually he traps the whole gang, turning
them over to Scotland Yard, with the information they
needed. He then bids goodbye to Sally Gray, a young
society girl who had become fascinated by the work
Sanders was doing and had assisted him; he tells her that,
iii order to do his work successfully, he had to travel alone.
Leslie Charteris wrote the story, and Lynn Root and
Frank Fenton, the screen play ; John P. Carstairs directed
it, and William Sistrom produced it. In the cast are David
Burns, Gordon McLeod, Henry Oscar, and others.
Suitability, Class A. Tempo fairly fast.
Note : Although this was produced in England, it is
being released on the regular RKO program because the
same leading player has been used, and the screen play
writers and producer are from RKO's Hollywood studio.
"Man About Town" with Jack Benny
and Dorothy Lamour
( Paramount , July 7; time, 84 min.)
A pretty good comedy with music. It should go over well
with Jack Benny's radio fans, for the style used in develop-
ing the story is similar to that used in his radio programs.
The story is light, depending on wisecracks rather than on
situations to provoke laughter. Eddie Anderson, the colored
actor, known on Benny's radio program as "Rochester,"
practically walks away with the picture ; he delivers the
comedy lines extremely well, and sings and dances. At the
Paramount Theatre, where the picture was previewed, the
audience applauded after Anderson's two dance numbers.
Benny, too, is very good ; he portrays a sympathetic char-
acter, amusing one by his efforts to appear sophisticated
so as to impress the girl he loved. The picture has been
given a lavish production: —
Benny, an actor-manager, who had gone to London to
arrange for the opening of a new musical show, looks for-
ward to the arrival of his star (Dorothy Lamour), with
whom he was in love. But when she does appear, she pays
little attention to him, for she, as well as all the other show
girls, thought he was too sedate and practical. Benny
accidentally becomes acquainted with Binnie Barnes, a
titled Englishwoman, who was married to millionaire Ed-
ward Arnold. Miss Barnes, annoyed at the fact that Arnold
neglected her because of business, decides to follow the
advice of a friend (Isabel Jeans) about teaching her hus-
band a lesson. She invites Benny to her home for the week-
end. He boastfully tells Miss Lamour about it, and then
asks her and her heckling friend (Phil Harris) to accom-
pany him. Both Miss Barnes and Miss Jeans play up to
Benny, so as to arouse the jealousy of their husbands. Benny
becomes frightened and runs away. At the opening night of
the show, the two irate husbands appear, prepared to kill
Benny. But, with the help of Anderson and Miss Lamour,
Benny finally convinces them of his integrity. He is happy
when Miss Lamour promises to marry him.
Morrie Ryskind wrote the story, and he, Allan Scott and
Zion Myers, the screen play ; Mark Sandrich directed it,
and Arthur Hornblow, Jr. produced it. In the cast are
Monty Woolley, Betty Grable, E. E. Clive, Matty Mal-
neck's Orchestra, and others.
Suitability, Cla.s A. Tempo, fairly fast.
"Good Girls Go to Paris" with Joan Blondell
and Melvyn Douglas
(Columbia, June 30; time, 77 min.)
A pretty good comedy. The production, particularly in
the second halt, which unlolds mostly in the home of a
millionaire, is lavish. It should go over with the masses, for
the light story presents no problems ; as a matter of fact,
the Cinderella-like plot is what audiences need today to
take their minds off their own troubles. The heroine's at-
tempts at blackmail in an effort to obtain enough money
so as to go to Paris are not demoralizing, since she does
not carry her plans through ; furthermore, it is all treated
from a comedy angle. The romance is charming : —
Miss Blondell, a waitress in a college town, dreams of
going to Paris. Knowing that she could not earn enough
money to do so, she decides to play up to a wealthy college
boy, make him propose, and then force his father to pay
her to release the son. Melvyn Douglas, a professor, takes
an interest in her ; when she confides her plans in him, he
warns her that her conscience would not permit her to go
through with them. And that is what happens. Just when
she has an opportunity to blackmail a wealthy father, her
conscience slops her from doing so. She decides to go back-
to her small home town. But she changes her mind at the
last minute, taking a train to New York instead. On the
train she meets Alan Curtis, wealthy playboy, whose sister
was engaged to Douglas. As soon as they arrive in New
York, they go to night clubs ; Curtis becomes so drunk that
Miss Blondell has to take him home. When Walter Con-
nolly, Curtis' grandfather, hears noise, he becomes irritated
and shouts. In order not to get any one into trouble, Miss
Blondell poses as a friend of the bride-to-be (Joan Perry).
Since Connolly takes a liking to Miss Blondell, she stays
on at the house. Douglas arrives and is amazed to find her
there. Eventually, after many complications, during which
she is accused of attempting blackmail again, she sets
things straight. She proves that Miss Perry loved a strug-
gling young doctor (Henry Hunter), and that her own in-
tentions had always been honorable. Douglas, who loved
Miss Blondell, proposes; she is overjoyed, for she, too,
loved him.
Lenore Coffee and Wm. J. Cowen wrote the story, and
Gladys Lehman and Ken Englund, the screen play : Alexan-
der Hall directed it, and Wm. Perlberg produced it. In the
cast are Isabel Jeans, Stanley Brown, and Alexander
D'Arcy.
More suitable for adolescents and adults than for chil-
dren. Class B. Action, fairly fast.
"Naughty But Nice" with Dick Powell,
Ann Sheridan and Gale Page
(Warner Bros., July 1 ; time, 90 min.)
Just a fair comedy with music. It is somewhat amusing in
spots, but for the most part the silly plot developments and
trite dialogue tend to tire one. The musical numbers, which
are of the popular variety, are good, and should be of help
in selling the picture to the younger crowd. Whatever en-
tertainment value the picture has is due more to the efforts
of the players than to the material. The romance is pleasant
but routine : —
Dick Powell, a young small-town college professor, who
lived with sedate maiden aunts, is shocked when he hears
his symphony that he had sent to a New York music pub-
lishing house played over the radio as swing music. He
leaves for New York to fight the matter out. But once
there, another aunt (Helen Broderick), the black sheep of
the family, convinces him that he ought to stay in New York
and collaborate with Gale Page in writing popular tunes.
All his songs are hits. Ann Sheridan, a night-club singer,
enters into a scheme with another music publisher, to entice
Powell to switch his songs to this publisher, for which she
would receive a commission. By plying Powell with in-
toxicating drinks which he believed to be lemonades, she
induces him to sign a contract. Miss Page, who had fallen
in love with Powell, is disgusted and refuses to work with
him. The new publisher assigns Allen Jenkins to assist
Powell. Jenkins, who had heard Powell play classical music,
turns it into a pomilar song, naming himself and Powell as
the composers. The publishing firm and Powell are sued
by the estate of the deceased composer. Powell is happy
when his contract is torn up. At the trial, his three aunts
come to bis rescue and p^ove his innocense. The case is dis-
missed. Miss Page finally gets shy Powell to propose mar-
riage to her.
Jerrv Wald and Richard Macaulay wrote the screen
play, Ray Enright directed it, and Sam Bischoff produced
it. In the cast are Ronald Reagan. Maxie Rosenbloom.
Jerry Colonna, Halliwell Hobhes, Zasu Pitts, and others.
Suitability, Class A. Tempo, somewhat slow.
July 1, 1939
HARRISON'S REPORTS
103
"Timber Stampede" with George O'Brien
(RKO, June 30; time, 59 min.)
A fairly good program Western ; George O'Brien is
again given an opportunity to display his talents as a rider
and lighter. The action is exciting enough to please the
fans ; and, since the villains are not routed until the end,
there are plentiful fist fights and gun play throughout. Chill
Wills, as O'Brien's pal, again provokes laughter by the far-
fetched tales he relates. The romance is developed accord-
ing to formula :—
O'Brien, a cattle rancher, is incensed when he realizes
that a group of Easterners were entering faked homesteads
as a means of stripping the country of timber, while pretend-
ing to build a railroad. O'Brien's uncle, a newspaper pub-
lisher, tries to acquaint the people with the facts ; but the
villain buys the mortgage on the newspaper and ousts the
publisher. He then installs his own editor, a young news-
paper woman (Marjorie Reynolds) from the East, who
believed in his honesty and in the work he was doing. But
O'Brien changes her mind by showing her evidence of the
villain's guilt. Assisted by the former editor, she decides to
put out an issue, stating the truth. The villain and his men
try to prevent them. But O'Brien puts up a good fight and
is finally helped by his cowboys who had been rounded up
by Wills. The villains are arrested, tried, and sentenced to
prison. Their chief gunman is killed in a battle with
O'Brien. Miss Reynolds decides to remain out West as
O'Brien's wife.
Paul Franklin and Bernard McConville wrote the story,
and Morton Grant, the screen play ; David Howard directed
it, and Bert Gilroy produced it. In the cast are Morgan
Wallace, Robert Fiske, Guy Usher, and others.
Suitability, Class A.
"Susannah of the Mounties" with Shirley
Temple, Randolph Scott and
Margaret Lockwood
(20th Century-Fox, June 3; time, 78 min.)
Just a mildly entertaining comedy-melodrama. It is best
suited for children, who will probably become excited over
Shirley's encounters with Indians, and will be amused at
her friendship with the young son of an Indian chief. For
adults, however, the story lacks plausibility and the action
is slow-moving. Shirley is not given much of a chance to
show her talents ; she sings and dances one number, and on
occasion provokes laughter by her efforts to show courage.
But in all, it is pretty tedious, except for the closing scenes
when the Indians start out on the warpath. A mild romance
is worked into the plot : —
Randolph Scott, an officer of the North West Mounted
Police, finds Shirley, the only survivor of an Indian attack
on a group of settlers who had been travelling by covered
wagon. He takes her to his home where he and his orderly
(J. .barrell MacUonald ) care for her; she learns to love
both men, and is quite happy. Trouble was brewing because
of raids and thefts by Indians ; but, since the police did not
know who the guilty Indians were, they decide to have a
conference with a powerful Indian chief (Maurice Mos-
covich) in an effort to bring about peace. The Indian chief
leavts his young son with the white men, as an indication of
his honest efforts to apprehend the culprits and stop the
fighting. He was unaware that the leader of the thieves
was one (Victor Jory) of his own tribe. The chief's young-
son knew about this, and tells Shirley ; but he makes her
promise not to say anything until the proper time. When
Jory and other Indians arrive at the railroad camp headed
by Lester Matthews to sell him horses, Matthews recognizes
them as those stolen from his camp. He orders Jory to
leave and threatens to bring in the militia. Jory works the
Indians up to a frenzy ; they start attacking the white folk.
Scott is captured. When Shirley hears of this she sneaks
away in order to get to the Indian camp. Once there, she
exposes Jory and convinces the Indian chief of the good
intentions of the Mounted Police to keep peace. Scott is
released, and the warfare is ended. Scott marries Margaret
Lockwood, his chief's daughter ; they adopt Shirley.
Fidel LaBarba and Walter Ferris adapted the story from
the book by Muriel Denison ; Robert Ellis and Helen Logan
wrote the screen play; Win. A. Seiter directed it, and Ken-
neth Macgowan produced it. In the cast are Moroni Olscn,
Martin Good-Rider, and others.
Suitability, Class A. Tempo, somewhat slow.
"Mickey the Kid" with Bruce Cabot,
Ralph Byrd and Tommy Ryan
(Republic, July 3; time, 68 min.)
A fair program melodrama. Human interest is awakened
by the devotion of a young boy to his father. The situation
in which this boy realizes how vicious a character was his
father touches one. The closing scenes, showing a busload
of children, who had been abandoned on a country road
during a severe snow storm, fighting to keep alive, hold
one in suspense. There is some good comedy, most of
which is brought about by the excitable character portrayed
by Zasu Pitts; also by Tommy Ryan, when he uses slang
expressions : —
Bruce Cabot, a crook, is devoted to his motherless son
(Tommy Ryan), refusing the plea of Ralph Byrd, a doctor,
to turn the boy over to the care of his mother-in-law (Jessie
Ralph), whom he detested. After a bank robbery in which
he had participated, during which a guard was shot, Cabot
orders Tommy to go to his grandmother's home and remain
there until he received word from him. Miss Ralph is
reluctant to take Tommy into her home, but she is shamed
into doing so by Miss Pitts, her companion. She grows to
love the boy, and in time he returns her affections. Federal
investigators try to force Tommy to reveal his father's
whereabouts, but he refuses. Cabot, desirous of seeing his
son, sneaks into Miss Ralph's home ; Tommy hides him in
the attic. He later forces Tommy to leave with him in Miss
Ralph's car. They run out of gasoline. Tommy spies the
school bus on the road and stops it. Cabot orders the driver
to leave and then drives the bus, with all the children in it,
away from their homes. Tommy pleads with him to turn
back, but he refuses. When the bus gets stuck, Cabot pre-
pares to leave; but Tommy refuses to go with him.
Tommy makes the children keep moving, builds a fire, and
keeps up their spirits. Cabot is shot by the federal officers ;
before he dies he tells them where the children were. The
children are saved in time ; Tommy is considered a hero,
to his grandmother's delight.
Alice Altschuler wrote the story, and Doris Malloy and
Gordon Kahn, the screen play ; Arthur Lubin directed it,
and Herman Seldom produced it. In the cast are J. Farrell
MacDonald, June Storey, and others.
Suitability, Class A. Action, fairly fast.
"Daughters Courageous" with Priscilla
Lane, John Garfield and Claude Rains
(First National, July 22; time, 106 min.)
Good entertainment. Although the same players who ap-
peared in "Four Daughters" appear also here, this is not a
sequel to the first picture. It is, however, somewhat similar
in feeling, for this, too, presents a simple, heart-warming
drama of family life, with human appeal and comedy.
There are situations that touch one's heart and others that
provoke laughter. Although it is not as impressive as "Four
Daughters," it nevertheless holds one's attention well, since
one is in sympathy with all the characters. Those who en-
joyed "Four Daughters" will find this, too, to their liking : — ■
When Fay Bainter announces to her four daughters
(Priscilla, Rosemary, Lola Lane and Gale Page) that she
was going to marry Donald Crisp, a wealthy business man,
they are delighted, for they respected and loved him. Just
when everything looked serene, Claude Rains, Miss
Bainter's ex-husband, father of the four girls, who had
deserted his wife twenty years ago, suddenly appears. The
girls decide that they must act coldly towards him so as to
force him to leave ; but, instead, they find themselves
growing to love him. Priscilla, who had imagined herself
in love with Jeffrey Lynn, a young playwright, meets and
falls in love with John Garfield, son of a fisherman, whose
personality was similar to that of her father's. Miss
Bainter, realizing that, if Rains were to stay around much
longer, he would upset the happiness of her children, pleads
with him to leave. She does this knowing that he had re-
gretted his former acts and that he wanted to settle down
and be with his family ; but she felt it was for the best.
Rains convinces Garfield that he should not marry Priscilla.
He and Garfield leave together, to roam the world. Priscilla
is heartbroken; her mother comforts her, telling her that it
was better for her to part from Garfield now and thus save
herself the unhappiness that she had known. Miss Bainter
then marries Crisp.
The plot was suggested by a play by Dorothy Bennett
and Irving White; Julius and Philip Epstein wrote the
screen play, Michael Curtiz directed it, and Henry Blanke
produced it. In the cast are May Robson, Frank McHugh,
Dick Foran, Bcrton Churchill, and others.
Suitability, Class A. Tempo, fairly fast.
104
HARRISON'S REPORTS
July 1, 1939
The paragraph referred to reads as follows :
"(d) if any exhibitor, having the right to do so, fails to
exclude one or more features from higher brackets, he shall,
for each such feature, have the right to exclude one feature
from the lowest bracket ; provided, however, that if at the
time there are no unplayed available features in the lowest
bracket, he may exclude a feature from the next lowest
bracket."
Since the Allied board of directors rejected the January
16 draft, naturally the Allied organization was not in agree-
ment with this addition. Had this provision been discussed
bv the two committees, it is manifest that the exhibitor side
would have rejected it forthwith, for it is unfair. Why
should the exhibitor be denied the right to cancel a picture
from the immediately lower bracket, obliging him to cancel
one from the lowest bracket ?
(To be continued next tveck)
FIRST NATIONAL-WARNER
FORECASTS
"AND IT ALL CAME TRUE," the Louis Bromfield
Cosmopolitan Magazine story, with James Stewart, Ann
Sheridan and Humphrey liogart, a drama with music, deal-
ing with the hero, a composer, and with the heroine, a
singer, both children of Irish immigrants, who shelter in
their parents' boarding house a notorious underworld char-
acter ; he was sought by the U. S. Government for tax
evasion. For this, the gangster turns the boarding house
into a night club, helping them to win fame.
Comment : There is human appeal in some of the situa-
tions, which could be made more touching if the under-
world character were not made so vicious ; he could be
shown to have a better side, which would be brought out
by the readiness with which he helped the two youngsters
make their way in lite. There is naturally a chance for music
— of the swing kind, if the producers prefer.
Forecast : The picture should turn out either good or
very good in quality, with similar box-office results.
"BURNING DAYLIGHT," the Jack London story,
unfolding first in Alaska and then in San Francisco, where
the hero goes, after selling his Klondike goldmine, with the
intention of amassing a fortune in stuck gambling.
Comment : Jack London stories are literary masterpieces,
but they are not so suitable for motion pictures. This story
was produced by First National in 1928, but it turned out
only fair, even though Milton Sills took the hero's part. The
out;.tanding event is the hero's holding up a millionaire at
the point of a gun and taking away from him the money
that he had been i heated of. The fact that the hero is not
loyal to the heroine, who had stood by him all along, and
takes up with another woman, whose object was nothing
more than to help her father cheat him, makes the spectator
lose respect for him.
Forecast : the picture should turn out fair in quality. As
to box office results, it should depend on the popularity of
the leads.
"THE DESERT SONG," the well known operetta—
the book by Otto Harbach, Oscar Hammerstein and Frank
Mandel, with music by Sigmund Romberg — a romance,
with the action unfolding in Northern Africa, dealing with
a notorious would-be Arabian bandit, but in fact the son of
a French General.
Comment: Warner Bros, produced this picture in 1929,
with John Boles. It turned out outstanding, as judged by
the standards of that year. Last year, the announcement said
that it would be produced in technicolor, but since this
year's announcement says nothing about color one is com-
pelled to assume that it will be produced in black and white.
Forecast : The picture should turn out from good to very-
good in quality. Photographed in natural colors, it should
turn out excellent.
"DISRAELI," the Louis N. Parker play, a drama re-
volving around the vision of England's Premier Disraeli
in acquiring controlling stock in the Suez Canal. A romance
is interwoven in the plot.
Comment: This picture was first produced in 1921 by
United Artists with George Arliss. with fair results. The
second time it was produced by Warner Bros., in 1929,
with the same star, with better results. It is a good story,
but it hardly deserves a third production.
Forecast : It should turn out either good or very good
in entertaining quality.
"THE KNIGHT AND THE LADY," the Maxwell
Anderson stage play, "Elizabeth the Queen," with Bette
Davis, Errol Flynn, and Olivia dc Haviland — a historical
romantic drama, revolving around Queen Elizabeth.
Comment : The play had 147 performances when it
opened at the Theatre Guild. It is a powerful drama of court
intrigue, action and romance.
Forecast : The picture should turn out very good, and
with the stars announced it should do very well at the box
office.
"THE OLD MAID," the Zoe Akins stage play, taken
from the Edith Wharton novel, with Bette Davis, Miriam
Hopkins and George Brent — a drama in which mother love
is the foundation : one of the two sisters gives birth to an
illegitimate child and the other sister, alter the death of
her husband, adopts the child so as to shield the mother
from disgrace. The mother is heart-broken as she sees that
her daughter loves her sister, whom she thought her real
mother, and that she was considered a meddling old
woman. When time came for the daughter to marry, the
mother yearned to tell her who her real mother was, but
she desisted, because she did not want to make her daughter
unhappy.
Comment : The play had 305 performances. There is
powerful human appeal in the story.
Forecast : Warner Bros, has an excellent piece of property
in this play, which should make an excellent picture and,
witli the stars announced, perform equally well at the box
office;
"ON YOUR TOES," a musical revue by George Abbott,
Richard Rodgers, and I^orenz Hart, with the action unfold-
ing in a vaudeville theatre and backstage, including the
dressing rooms ; also in a broadcasting studio, in the class
rooms of a university, in the apartments of some of the
characters, in a Planetarium roof garden, and in other
places, with Vera Zorina, a famous dancer, in the leading
part.
Comment: This revue wasn't so successful on the stage,
but the material offers a fine opportunity for a good musical
picture. There is chance for action, for swing and other
music, and even for human interest. The story is weak.
Forecast : The plot will be altered, no doubt, and new
music added. If so, the picture should turn out very good
to excellent in quality, with the box office results depend-
ing on the popularity of those who will take the parts of.
the hero and the heroine.
"THE SEA HAWK," the Raphael Sabatini novel, with
Errol Flynn and Olivia de Haviland — an adventure melo-
drama, the action of which unfolds in the days of the buc-
canneers, aboard a pirate-chasing ship mostly, dealing with
Arab slavers and with the hero, an Englishman, made by
the ruler of Algeria commander of his fleet, determined to
avenge the death of his friend, son of the ruler, who had
been killed by the Spaniards.
Comment : This story was first produced by First Na-
tional in 1924, with Milton Sills in the hero's part; it
turned out an outstanding production. The action is fast,
there are heroics, and human interest abounds.
Forecast : Warner Bros, should make an outstanding
production with this story, both from the quality as well
as box-office performance point of view.
"TWENTY THOUSAND YEARS IN SING SING,"
a prison melodrama, by Warden Lewis E. Lawes, with John
Garfield and Ann Sheridan. It deals with a hero, a notori-
ous racketeer, who goes to Sing Sing Prison. There he
learns that he cannot have his own way. But the Warden
sees character in him and takes him under his protection.
The Warden receives word that the hero's sweetheart was
in an accident and, having faith in the hero, releases him to
see her. At her apartment he learns that it was his lawyer
who had caused the accident ; he had tried to assault her.
A fight ensues and, when the heroine sees that the lawyer
was having the best of the hero, shoots and kills the lawyer.
The hero returns to prison and stands trial and, because
he refused to divulge the facts, is convicted and sentenced
to death. He admonishes the heroine not to mourn for him,
for he felt that it was the only noble act that he had ever
performed.
Comment : This story was put into pictures by the same
company once before — in 1931. It turned out a gripping
picture, with plentiful human interest. There was comedy,
too, provoked by the methods the Warden employed to cure
the hero's arrogance. The closing scenes are heart-rending.
Forecast : Warner Bros, announced recently that it would
alter the story considerably. As it stands, it can again make
a powerful prison melodrama, which should draw either
well or very well at the box office.
IN TWO SECTIONS— SECTION TWO
HARRISON'S REPORTS
Vol. XXI
NEW YORK, N. Y., SATURDAY, JULY 1, 1939
No. 26
(Semi-Annual Index — First Half of 1939)
Title of Picture Revieived on Page
Adventures of Jane Arden, The — Warner (58 min.) ... 38
Almost a Gentleman — KKO (64 mm.) 51
Ambush — Paramount (61 l/2 min.) 10
Among Those Present — Syndicate (See "The
Headleys at Home") 42
Arizona Legion — KKO (58 min.) 1(J
Arizona Wildcat, The — 20th Century-Fox (69 min.).. 15
Awakening of Katrina, The — MGM (See "The Girl
Downstairs") 2
Back Door to Heaven — Paramount (85 min.) 67
Beauty for the Asking — KKO (6/3-4 min.) 26
15ig town Czar — Universal (66 min. ) 74
Billy the Kid Keturns — Republic (56m.) . . .Not Reviewed
Black tfandit — Universal (57m.) Not Reviewed
Blackwell's Island — First National (70 min. ) 38
blind Alley — Columbia (70 mm.) 74
Blondie Meets the Boss — Columbia (74 mm.) 38
Blue Montana Skies — Republic (56m.) .... Not Reviewed
Boy Friend— 20th Century-Fox (72 min.) 83
Boy Slaves— RKO (71 mm.) 14
Boys' Reformatory — Monogram (61 min.) 75
Boy Trouble — Paramount (73 min.) 22
Bridal Suite— MGM (69 min.) 86
Broadway Serenade — MGM (112 min.) 63
Bulldog Drummond's Secret Police — Paramount
(54 min.) 58
Burn 'Em Up O'Connor— MGM (69'/2 min.) 15
Cafe Society — Paramount (83 min.) 30
California Frontier — Columbia (54m.) .... Not Reviewed
Calling Dr. Kildare— MGM (86 min.) 70
Captain r'ury — United Artists (91 min.) 83
Charlie Chan in Honolulu — 20th Century-Fox (67m.). 7
Charlie Chan in Reno — 20th Century-Fox (70 min.) ... 91
Chasing Danger — 20th Century-Fox (60 min.) 79
Climbing High — 20th Century-Fox (71 min.) 94
Clouds Over Europe — Columbia (78 min.) 98
Code of the Secret Service — First Nat'l (57 min.) .... 87
Code of the Streets — Universal (69 min.) 35
Confessions of a Nazi Spy — First National (106m.)... 71
Convict's Code — Monogram (63 min.) 27
Crackerjack — Gaumont-British (See "Man with 100
Faces") 186
Crooked Way — Monogram (See "Gang Bullets") ....202
Dark Victory — First National ( 105 min.) 63
Devil's Island — Warner Bros. (62 min.) 6
Disbarred — Paramount (59 min.) 10
Dodge City — Warner Bros. (103 min.) 62
Down the Wyoming Trail — Monogram (62m.)
Not Reviewed
Drifting Westward — Monogram (49m.) ... Not Reviewed
East Side of Heaven — Universal (86 min.) 67
Elephants Never Forget — United Artists (See
"Zenobia") 62
Escape from Yestcrda> — Paramount (See "Ride a
Crooked Mile") 202
Everybody's Baby — 20th Century-Fox (61 min.) 34
Ex-Champ — Universal (72 min.) 83
Exile Express — Grand National (70 min.) 86
Family Next Door, The — Universal (60 min.) 67
Fast and Loose — MGM (79 min.) 31
Federal Man Hunt — Republic (63 min.) 7
Fifth Round, The — Monogram (See "Tough Kid") .. 6
Fighting Thoroughbreds — Republic (65 min.) 11
First Offenders — Columbia (61 min.) 59
Fisherman's Wharf— RKO (71 min.) 23
Five Came Back— RKO (74</2 min.) 99
Fixer Dugan— RKO (68 min.) 79
Flight from Justice — Republic (See "Federal
Man Hunt") 7
Flying Irishman, The — RKO (71 min.) 42
Forged Passport— Republic (61 min.) 35
For Love or Money — Universal (66J4 min.) 66
Four Girls in White— MGM (73 min.) 23
Frontier Pony Express— Republic (58m.) .. Not Reviewed
Frontiersman, The— Paramount (73'/2m.) .. Not Reviewed
Frontiers of '49— Columbia (54j^m.) Not Reviewed
Gambling Ship— Universal (61 min.) 3
Ghost Town Riders— Universal (54m.) Not Reviewed
Girl and the Gambler, The— RKO (63 min.) 98
Girl Downstairs, The — MGM (76 min.) 2
Girl From Mexico, The— RKO (71 min.) ., 87
Goodbye, Mr. Chips— MGM (113 min.) 94
Gorilla, The — 20th Century-Fox (65 min.) 86
Gracie Allen Murder Case — Paramount (75 min.) 86
Grand Jury Secrets— Paramount (68 min.) 87
Great Man Votes, The— RKO (71 min.) 10
Guilty Trail— Universal (57m.) Not Reviewed
Gunga Din— RKO (116 min.) 19
Gun Packer — Monogram (49m.) Not Reviewed
Hardys Ride High, The— MGM (80 min.) 67
Headleys at Home, The— Syndicate (59 min.) 42
Hell for Leather— MGM (See "Burn 'Em Up
O'Connor") 15
Home on the Prairie— Republic (59m.) Not Reviewed
Homicide Bureau — Columbia (59 min.) 23
Honolulu — MGM (83 min.) 27
Honor of the West— Universal (58m.) Not Reviewed
Hotel Imperial — Paramount (79 min.) 78
Hound ol the Baskervilles, The— 20th Century-
Fox (79 min.) 50
Housemaster— Associated British (84 min.) 63
House of Fear — Universal (65^4 min.) .' 95
Huckleberry Finn— MGM (9i)l/2 min.) 30
Ice Follies of 1939, The— MGM (81 min.) 42
Idiot's Delight — MGM (106>4 min.) 22
I'm From Missouri— Paramount (78y2 min.) ', 54
In Early Arizona— Columbia (53m.) Not Reviewed
Inside Information — Universal (61 min.) 99
Inside Storj — 20th Century-Fox (60 min.) 43
Inspector Hornleigh— 20th Century-Fox (75 min.) ... 82
Invitation to Happiness— Paramount (99 min.) 91
It Could Happen to You— 20th Century-Fox (71m.).. 95
It Happened in Hollywood — Republic (See "A
Desperate Adventure") 130
It's a Wonderful World— MGM ( 85 min.) . . . . . . . . . . . 75
I Was a Convict — Republic (6j min.) 39
Jaurez— Warner Bros. (127 min.) 75
Jesse James— 20th Century-Fox (105 min.) !!." 11
Jones Family in Hollywood, The— 20th Century-Fox
(59l/2 min.) 90
Kentucky— 20th Century-Fox (95 min.) 3
Kid From Kokomo. The — First National (92 min.) .'..' 95
Kid From Texas, The — MGM (70 min.) 66
King of Chinatown — Paramount (56 min.) , 46
King of the Turf— United Artists (87l/2 min.) 27
King of the Underworld— Warner Bros. (68 min.) ... 11
Lady and the Mob, The — Columbia (65 min.) 54
Lady's From Kentucky, The— Paramount (76 min.) .. 70
Law Comes to Texas — Columbia (58m.) ... Not Reviewed
Law of the Texan — Columbia (54m.) Not Reviewed
Let Freedom Ring— MGM (86 min.) 34
Let Us Live — Columbia (68 min.) 34
Little Princess, The— 20th Century-Fox (91 min.)!!!! 46
Lone Wolf's Spy Hunt— Columbia (71 min.) 18
Long Shot— Grand National (68 min.) 62
Love Affair— RKO (88 min.) 47
Lucky Night— MGM (82 min.) 71
Made For Each Other— United Artists (94 min.) 26
Magnificent Outcast— RKO (See "Almost
a Gentleman") 51
Maisie — MGM (74 min.) ..!..!! 98
Man from Music Mountain — Repub. (58m.). Not Reviewed
Man of Conquest — Republic (98 min.) 66
Man's Heritage — Universal (See "Spirit of Culver") . . 39
Mexicah Kid — Monogram (61m.) Not Reviewed
Midnight — Paramount (93 min.) 47
Mikado, The— Universal (89 min.) 87
Missing Daughters — Columbia (59 min.) 79
Mr. Moto in Danger Island — 20th Century-Fox (69 m.) 46
Mr. Moto's Last Warning — 20th Century-Fox (71m.). 15
Mr. Moto Takes a Vacation — 20th Century-Fox
(62 min.) 99
Modern Miracle, The— 20th Century-Fox (Sec "Story
of Alexander Graham Hell") 58
My Son Is a Criminal — Columbia (59 min.) 47
Mystery of Mr. Wong, The— Monogram (67 min.) ... 47
Mystery of the White Room — Universal (58 min.) .... 51
Mysterious Miss X, The — Republic (64 min.) 14
Mysterious Rider — Paramount (72m.) .... Not Reviewed
Mystery Plane — Monogram (60 min.) 38
My Wife's Relatives — Republic (64 min.) 50
Nancy Drew, Reporter — First National (68 min.).... 22
Navy Secrets — Monogram (60 min.) 22
Never Say Die — Paramount (81 min.) 43
Newsboys' Home — Universal (72 min. ) 7
Night Riders — Republic (57ni.) Not Reviewed
North of Shanghai — Columbia (58 min.) 55
Off the Record— Warner Bros. (70 min.) 19
Oklahoma Kid — Warner Bros. (80 min.) 39
One '1 bird of a Nation — Paramount (75 min.) 27
Only Angels Have Wings — Columbia (120 min.) 82
On Trial— Warner Bros. (61 min.) 58
Orphan of the Ring, The — First National (See "The
Kid From Kokomo") 95
Outside These Walls — Columbia (61 min.) 78
Overland Stage Raiders — Republic (55m.) .Not Reviewed
Pacific Liner — RKO (75 min.) 2
Pals of the Saddle— Republic (55m.) Not Reviewed
Panama Lady — RKO (65 min.) 79
Panama Patrol — Grand National (68 min. ) 79
Pardon Our Nerve— 20th Century-Fox (67'/> min.) .. 18
Paris Honeymoon — Paramount (85 min.) 5
Peggy and Partner — Columbia (See "Blondie") 186
Persons in Hiding — Paramount (70 min.) 18
Phantom Stage, The — Universal (57m.) ... Not Reviewed
Pirates of the Skies — Universal (61 min.) 11
Prairie Moon — Republic (59m.) Not Reviewed
Prairie Justice — Universal (57m.) Not Reviewed
Pride of the Navy — Republic (63 min.) 19
Prison Without liars— United Artists (77 min.) 35
Racketeers of the Range — RKO (62 min.) 87
Return of the Cisco Kid, The — 20th Century-Fox
(71 min.) 67
Rhythm of the Saddle — Republic (58m.) Not Reviewer'
Rio Grande — Columbia (59m.) Not Reviewed
Risky Business — Universal (67 min.) 46
Romance Is Sacred — Warner Bros. (See "The King
and the Chorus Girl") (1937) 42
Romance of the Redwoods — Columbia (67 min.) 70
Rookie Cop, The— RKO (60 min.) 75
Rose of Washington Square — 20th Centurv-Fox
• (85 min.) 74
St. Louis Blues — Paramount (86 min.) 18
Saint Strikes Back, The— RKO (64 min.) 35
Secret Service of the Air- — Warner Bros. (61 min.) ... 34
Sergeant Madden— MGM (80 min.) 50
Shine On Harvest Moon — Republic (57m.) .Not Reviewed
6,000 Enemies— MGM (61 min.) 95
Skids— MGM (See "Burn 'Em Up O'Connor") 15
Smiling Along; — 20th Century-Fox (92 min.) 6
Society Lawyer — MGM (77 min.) 54
Society Smugglers — Universal (70 min.) 43
Some Like It Hot— Paramount (64 min.) 82
Song of the Buckaroo — Monogram (56m.) .Not Reviewed
Son of Frankenstein — Universal (98 min.) 14
Sororitv House — RKO (64 min.) 66
S-O-S Tidal Wave— Republic (61 min.) 98
Southward Ho — Republic (58m.) Not Reviewed
Spirit of Culver — Universal (90 min.) 39
Spoilers of the Range — Columbia (58m.) . . . Not Reviewed
Stagecoach — United Artists (95 min.) 31
Stand Up and Fight— MGM (96 min.) 6
Starlisjht over Texas — Monogram (56m.) .Not Reviewed
Star Reporter, The — Monotrram (62 min.) 39
Stolen Life — Paramount (87 min.) 82
Story of Alexander Graham Bell, The — 20th Century-
Fox (96]/2 min.) 58
Story of Vernon and Irene Castle, The— RKO (92m) . 55
Stranded in Paris — Paramount (Sec "Artists and
Models Abroad") 194
Stranger from Arizona, The — Columbia (56m.)
Not Reviewed
Street of Missing Men — Republic (65 min.) 71
Streets of New York — Monogram (72 min.) 59
Sudden Money — Paramount (60 mm.) 50
Sundown on the Prairie — Monogram (53m). Not Reviewed
Sun Never Sets, The — Universal (96 min.) 94
Sunset Trail — Paramount (68 min.) Not Reviewed
Sweepstakes Winner — First National (59 min.) 71
Swift Vengeance — RKO (See "The Rookie Cop") ... 75
Tailspin — 20th Century-Fox (83J/2 min.) 23
Tarzan Finds a Son — MGM (82 min.) 99
Tell No Tales— MGM (69 min.) 83
Terror of Tiny Town, The — Columbia
(63 min.) Not Reviewed
Texas Stampede — Columbia (57'/i min.) ... Not Reviewed
They Asked For It— Universal (61 min.) 90
They Made Her a Spy— RKO (68 min.) 55
They Made Me a Criminal — Warner Bros. (92 min.) . . 15
Three Musketeers, The — 20th Century-Fox (72 m.) ... 26
Three Smart Girls Grow Up — Universal (87 min.) .... 51
Three Texas Steers — Republic (56m.) .... Not Reviewed
Thundering West, The — Columbia (58m.) . Not Reviewed
Tom Sawyer, Detective — Paramount (67 min.) 3
Topper Takes a Trip — United Artists (80 min.) 2
Torchy Blane in Chinatown — First National (57 min.) 19
Torchy Runs for Ma\or — Warner Bros. (59 min.) ... 74
Tough Kid — Monogram (59 min.) 6
Trade Winds— United Artists (93>/2 min.) 2
Trapped in the Skies — Columbia (61 min.) 78
Trigger Smith— Monogram (51m.) Not Reviewed
Trouble in Sundown — RKO (60 min.) 42
Tumbleweeds — Astor Pictures — (86 min.) 78
Twelve Crowded Hours— RKO (64 min.) 30
Undercover Agent — Monogram (56m.) . . . .Not Reviewed
Undercover Doctor — Paramount (66 min.) 91
Union Pacific — Paramount (135 min.) 70
Unmarried — Paramount (66 min.) 91
Wanted by Scotland Yard — Monogram (62m.)
Not Reviewed
West of Santa Fe — Columbia (57m.) Not Reviewed
What a Woman — Columbia (See "There's That
Woman Again") 206
Where the Buffalo Roam — Mono. (62m.) .. Not Reviewed
Whispering Enemies — Columbia (63 min.) 43
Wife, Husband and Friend— 20th Ccn.-Fox (79 m.) . . . 30
Wild Horse Canyon — Monogram (50m.) .. Not Reviewed
Wings of the Navy — Warner Bros. (8854 min.) 14
Winner Take All — 20th Century-Fox (62 min.) 54
Within the Law— MGM (64 min.) 51
Wolf Call — Monogram (60 min.) 90
Woman Doctor — Republic (65 min.) 26
Women in the Wind — Warner Bros. (65 min.) 63
Withering Heights — United Artists (97 min.) 59
Yes, My Darling Daughter — First National (74m.).. 42
You Can't Cheat an Honest Man — Universal (79 m.). 31
You Can't Get Awav With Murder — First National
(78 min.) ." 62
Young Mr. Lincoln — 20th Century-Fox (101 min.)... 94
Zaza — Paramount (84 min.) 7
Zenobia — United Artists (73 min.) 62
Zero Hour, The — Republic (65 min.) 90
RELEASE SCHEDULE FOR FEATURES
Columbia Features
( 729 Seventh Ave., New York, N. Y.)
9206 Spoilers of the Range— Starrett (58m.) Apr. 27
9031 Outside These Walls— Costello- Whelan .... Mav 4
9016 Blind Alley— Morris-Bellamy-Dvorak May 11
9027 Missing Daughters — Arlen-Marsh May 22
9001 Only Angels Have Wings— Grant-Arthur . . .May 25
9024 Trapped in the Sky — Jack Holt June 1
9207 Western Caravan (Arizona Cowboy) —
Starrett (58 min.) (reset) June 15
9012 Clouds Over Europe (Q Planes) — Olivier-
Hobson (reset) June 20
Parents on Trial— Parker-Downs (reset) . . .June 29
9005 Good Girls Go to Paris— Blondell June 30
A Woman Is the Judge — Hudson-Kruger . . .July 10
9208 The Man from Sundown — Starrett (reset) . .July 15
Blondie Takes a Vacation — Singleton July 20
Escape from Alcatraz — Donlevy-Wells July 27
First National Features
(321 IV. 44th St., New York, N. Y.)
373 Sweepstakes Winner— Wilson-Jenkins May 20
374 Code of the Secret Service— Reagan May 27
375 The Man Who Dared— Bryan-Grapewin June 3
363 The Kid From Kokomo — O'Brien-Morris June 24
360 Daughters Courageous — Garfield-Lane July 22
366 The Cowboy Quarterback— Wheeler-Wilson ..July 29
Grand National Features
(50 Rockefeller Placa, New York, N. Y.)
Wl-3 The Singing Cowgirl— D. Page (57m.) May 31
Metro-Goldwyn-Mayer Features
(1540 Broadway, New York, N. Y.)
929 The Kid From Texas— O'Keefe-Rice Apr. 14
934 The Hardys Ride High — Stone-Rooney Apr. 21
932 Calling Dr. Kildare — L. Barrymore-Ayres Apr. 28
933 Lucky Night — Taylor-Lov May 5
935 Tell No i ales— Douglas-Platt May 12
936 It's a Wonderful World— Colbert-Stewart ...May 19
937 Bridal Suite — Voung-Annabella May 26
No release for June 6
938 6,000 Enemies — Pidgeon-Johnson June 9
939 Tarzan Hnds a Son — Wtissmuller-O'Sullivan.June 16
940 Maisie (Maisie Was a Lady) — Sothcrn June 23
941 Stronger Than Desire — Bruce-Pidgeon June 30
942 On Borrowed Time — L. Barrymore July 7
643 Rose Marie — Reissue Julv 7
943 They All Come Out— Johnson-Neal July 14
944 Andy Hardy Gets Spring Fever — Rooney July 21
Goodbye, Mr. Giips — Robert Donat July 28
Miracles for Sale — R. Young-Rice July 28
Monogram Features
(1270 Sixth Ave., New York, N. Y.)
3829 Wanted by Scotland Yard — J. Stephenson ..Apr. 19
3820 Boys' Reformatory — Frankie Darro May 1
38o4 Down the Wyoming Trail — Ritter (62m.) ..May 18
3813 Wolf Call— Movita-J. Carroll May 18
3855 Across the Plains— Randall (52m.) June 1
3823 Should a Girl Marrv (Girl from Nowhere) —
Nagel-Hull June 10
3814 Stunt Pilot— John Trent (reset) July 1
3865 Roll, Wagon, Roll— Ritter (reset) Aug. 16
Paramount Features
(1501 Broadway, New York, N. Y.)
3836 Hotel Imperial — Miranda-Milland May 12
3837 Some Like It Hot — Hope-Ross-Krupa May 19
3838 Unmarried — Jones-Twelvetrees May 26
3864 Stolen Life — Bergner-Redgrave May 26
3839 Gracie Allen Murder Case — Allen- William. .June 2
3840 Undercover Doctor — Nolan-Naish-Logan . .June 9
3841 Invitation to Happiness — Dunne-MacMurray.June 16
3842 Grand Jury Secrets — Howard-Frawley June 23
3843 Heritage of the Desert — Woods-Barrat
(78 min.) June 23
3844 Bulldog Drummond's Bride — Howard-Angel. June 30
3845 .Man About Town — Benny-Lamour-Arnold . .July 7
Million Dollar Legs — Gr able-Hartley July 14
The Magnificent Fraud— Tamiroff- Nolan. . . .July 21
Island of Lost Men — Wong-Naish (reset) ..July 28
Republic Features
(1776 Broadway, Nezv York, N. Y.)
855 Southward Ho — Rogers (58 min.) May 18
812 The Zero Hour — Kruger-Inescort May 26
813 S-O-S, Tidal Wave— Byrd-Sutton June 2
845 Mountain Rhythm — Autry (59 min.) June 9
850 In Old Caliente — Rogers (57 min.) June 19
867 Wyoming Outlaw — Three Mesquit. (56m.) .. .June 27
814 Mickey the Kid— Ryan-Cabot-Pitts (65m.) .. .July 3
RKO Features
(1270 Sixth Ave., Nezv York, N. Y.)
925 Panama Lady— Ball-Lane May 12
928 Girl From Mexico — Vclcz-Woods June 2
926 The Girl and the Gambler — Duna-Carrillo. . . .June 16
927 Five Came Back — Morris-Taylor-Ball June 23
Twentieth Century-Fox Features
(444 W. 56th St., New York, N. Y.)
943 Boy Friend— Withers-Whelan-Bond May 19
944 The Gorilla — Ritz Bros.-Louise-Norris May 26
946 The Jones Family in Hollywood — Prouty . . . .June 2
947 Young Mr. Lincoln — Fonda-Brady-Weaver. . June 9
948 Charlie Chan in Reno — Toler-Cortez June 16
954 Susannah of the Mounties — Temple-Scott . . . .June 23
950 It Could Happen to You — Erwin-Stuart June 30
952 Mr. Moto Takes a Vacation — Lorre July 7
949 Second Fiddle — Henie- Power- Vallee July 14
953 News Is Made at Night — Foster-Bari July 21
8014 The Ware Case— Clive Brook July 21
951 The Frontier Marshall (The Girl From
Brooklyn) — Scott-Barnes (reset) July 28
United Artists Features
(729 Seventh Ave., New York, N. Y.)
Captain Fury — Aherne-McLaglen-Lang May 26
The Hurricane — Reissue June 2
A Star Is Born — Reissue June 2
Elephant Boy — Reissue June 2
Universal Features
(1250 Sixth Ave., New York, N. Y.)
A3019 Code of the Streets— Carey Apr. 14
A3018 Big Town Czar— MacLane-Brown-Arden. .Apr. 21
A3030 For Love or Money — Lang-Kent Apr. 28
A3010 Ex-Champ — McLagien-Brown Mav 19
A3040 They Asked for It— Whalen-Hodges (re.). May 26
A3039 Inside Information — Lang-Foran June 2
The Sun Never Sets — Fairbanks, Jr. (re.) .June 9
A3038 House of Fear — Gargan-Hervey June 30
Unexpected Father — Auer-O'Keefe-Ross . .July 7
The Forgotten Woman — Gurie-Briggs ....July 7
I Stole a Million — Raft-Trevor July 14
("Hazvaiian Holiday" has been transferred to the 1939-40
season.)
Warner Bros. Features
(321 W. 44th St.. New York, N. Y.)
322 Torchy Runs for Mayor — Farrell May 13
301 Juarez — Muni-Davis-Aherne-Rains June 10
324 Nancy Drew, Trouble Shooter — Granville ...June 17
311 Naughty But Nice— Sheridan-D. Powell July 1
312 Hell's Kitchen — "Dead End" Kids-Lindsay ...July 8
325 Waterfront — Dickson-Morgan July 15
SHORT SUBJECT RELEASE SCHEDULE
Columbia — One Reel
9902 Washington Parade— Issue 82 (11m.) Feb. 21
9656 Community Sing No. 6 — {\Ql/2m.) Feb. 24
9962 A Night at the Troc— Vanities (10^m.) ...Mar. 2
9754 Scrappy 's Side Show — Scrappys (6j-'2m.) . . . Mar. 3
9857 Screen Snapshots No. 7 — (9^111.) Mar. 17
9805 Navy Champions— Sport Thrills (9K-m.) ...Mar. 17
9657 Community Sing No. 7 — (lOj^m.) Mar. 24
9508 Happy Tots— Color Rhapsody (6/2m.) ....Mar. 31
9705 Golf Chumps— Krazy Kat (6^m.) Apr. 6
9858 Screen Snapshots No. 8— (9^m.) Apr. 8
9509 The House That Jack Built— Col. RJi. (7m.) .Apr. 14
9806 Diving Rhythm— Sport Thrills (9^m.) ....Apr. 21
9658 Community Sing No. 8— (10^m.) Apr. 21
9755 A Worm's Eye View — Scrappvs (7m.) Apr. 28
9903 Washington Parade— Issue S3 (lOin.) May 12
9706 Krazv's Shoe Shop — Krazy Kat (6m.) Mav 12
9859 Screen Snapshots No. 9— (9^m.) Mav 12
9659 Community Sing No. 9— (10y2m.) May 19
9963 Yankee Doodle Home— Vanities (10m.) Mav 19
9510 Lucky Pigs— Color Rhapsodv (7m.) May 26
9860 Screen Snapshots No. 10— (10m.) Mav 26
9554 Man Made Island— Tours (9>^m.) May 26
9756 Scrappv's Rodeo — Scrappvs June 2
9807 Jockeys Up— Sport Thrill's (10j/>m.) June 2
9861 Screen Snapshots No. 11 June 15
9660 Community Sing No. 10 — (10m.) June 16
9511 Nell's Yells— Color Rhapsody June 30
9808 Technique of Tennis — Sport Thrills (9m.) . . June 30
9142
941)7
914.?
9144
9434
9145
9146
9435
9147
9148
9408
9149
9150
9436
9151
9152
9437
Columbia — Two Reels
Trap of the Wasp— Mandrake 92 (20l/>m.) . .May 13
Yes, We Have Bananas — Stooges (16m.) . . .May 19
City of Terror— Mandrake 93 (19m.) .May 20
The Secret Passage — Mandrake #4 ( 17m.) .. May 27
Now It Can Be Sold— All Star (16j^m.) June 2
The Devil's Playmate— Mandr. 95 (14^m.) . June 3
The Fatal Crash— Mandrake 96 (14^m.) . . June 10
Pest in the West— All Star (18j£m.) June 16
Gamble for Life — Mandrake 97 ( \4'/2m.) , . . June 17
Across the Deadline— Mandrake $8 (17m.) . .June 24
Saved by the Belle— Stooges (\7l/2m.) June 30
Terror Rides the Rails — Mandrake 99 July 1
The Unseen Monster — Mandrake #10 July 8
Rattling Romeo — All Star (17m.) July 14
At the Stroke of Eight— Mandrake # 11 July 15
The Reward of Treachery — Mandrake $12 . . .July 22
Trouble Finds Andy Clyde— All Star (18m.) .July 28
Metro-Goldwyn-Mayer — One Reel
F-956 Dark Magic— Robert Benchley (10m.) May 13
W-886 The Art Gallery— Cartoons (9m.) May 13
M-878 Hollywood Hobbies — Miniatures (10m.) ..May 13
S-908 Radio Hams— Pete Smith (10m.) May 20
K-925 Angel of Mercy — Passing Parade (10m.) ..May 20
M-879 Prophet Without Honor— Miniat. (11m.) . .May 20
M-880 The Greener Hills— Miniatures (11m.) ...May 27
F-957 Home Early — Benchley (9m.) May 27
T-862 Colorful Curacao — Traveltalks (9m.) May 27
W-887 The Bear That Couldn't Sleep— Cartoons
(Technicolor) June 10
F-958 How to Eat— Benchley (10m.) June 10
S-909 Poetry of Nature— Pete Smith (8m.) June 17
K-926 Yankee Doodle Goes to Town — Pass. Par. .June 17
K-927 Giant of Norway — Passing Parade June 24
C-940 Joy Scouts — Our' Gang June 24
S-910 Culinary Carving — Pete Smith July 1
Metro-Goldwyn-Mayer — Two Reels
P-813 While America Sleeps — Crime Doesn't Pay
(21 min.) Apr. 15
P-814 Help Wanted— Crime Doesn't Pay (21m. ) .June 10
Paramount — One Reel
J8-5 Popular Science 95 — (10m.) May 12
V8-10 Swans— Paragraphic (9m.) May 19
E8-8 Wotta Nitemare— Popeye (7m.) May 19
K8-6 Jamaica — Color Cruises (9m.) May 26
A8-11 Tempo of Tomorrow — Headliner (10m.) ..June 2
P8-11 Paramount Pictorial #11 — (10m.) June 2
R8-12 Death Valley Thrills (Watdi Your Step)
— Sportlight (9 min.) June 9
T8-9 The Scared Crows— Betty Boop (6m.) June 9
E8-9 Ghosks Is the Bunk— Popeye (6}/m.) ..... June 16
L8-6 Unusual Occupations $6— (9}£m.') June 16
V8-11 Farewell, Vienna — Paragraphic (9]/2m.) ..June 23
C8-5 The Barnyard Brat — Color Classic June 30
A8-12 Not Yet Titled— Headliner July 7
P8-12 Paramount Pictorial #12 Julv 7
R8-13 Watch Your Step— Sportlight (9m.) July 7
T8-10 Rhvthm on the Reservation — Boop (6m.) ..July 7
E8-10 Hello, How Am I— Popeye .............. July 14
J8-6 Popular Science 96 July 14
C8-7 Rio De Janeiro — Color Cruise July 21
94113
04610
94114
94311
94115
94312
94116
94118
93110
93405
93111
93504
93706
93204
RKO— One Reel
Donald's Cousin Gus— Disney (7m.) May 19
Swinguet — Reelism (8m.) May 26
Beach Picnic — Disney (8m.) June 9
Devil Drivers — Sportscope (9m.) June 16
Sea Scouts — Disney (8m.) June 30
Riding the Crest — Sportscope (9m.) July 14
The Pointer — -Disney (8m.) July 21
Donald's Penguin — Disney (8m.) Aug. 11
RKO — Two Reels
March of Time— (19m.) May 12
Baby Daze— E. Kennedy (15m.) May 19
March of Time — (19m.) June 9
Sagebrush Serenade — Whitley (19m.) . . . June 16
Ring Madness — Leon Errol (19m.) June 30
Marriage Go Round— Radio Flash (18m.) . July 28
9304
9528
9205
9513
9106
9514
9107
9515
9305
9516
9604
9517
9306
9518
Twentieth Century-Fox — One Reel
Inside Baseball— Sports (lO^m.) Apr. 28
Barnyard Egg-Citement — T. Toon (6j/£m.).May 5
Sand Hogs — Adv. News Camera. (9>/2m.) . . May 12
Nick's Coffee Pot — Terry-Toon (6'/2m.) . . . .May 19
Good Neighbors — Lowell Thomas ( lOJ/^m.) . May 26
The Prize Guest — Terry-Toon (6J/2111.) June 2
Tempest Over Tunis — L. Thomas ( \0'/i.) . . . June 9
Gandy Goose in a Bully Romance —
Terry-Toon (6]/2 min.) June 16
Sports Immortals — Sports (lOj^m.) June 23
Africa Stpiawks — Terry-Toon (6^m.) ...June 30
Fashion Forecast No. 4 July 7
Barnyard Baseball — Terry-Toon July 14
Not Vet Titled— Sports July 21
The Old Fire Horse— Terry-Toon July 28
NEWSWEEKLY
NEW YORK
RELEASE DATES
Universal — One Reel
A3361 Going Places with Thomas $63— (9'/2m.) . .May 15
A3256 Bola Mola Land— Lantz cart. (7m.) May 29
A3374 Stranger Than Fiction $63 — (9m.) June 5
A3257 Bird on Nellie's Hat— Lantz cart June 19
A3362 Going Places with Thomas #64 — (9m.) . . . June 26
A3375 Stranger Than Fiction #6-1 — (9</2m.) July 3
A3363 Going Places with Thomas #65 — (9m.) . . . July 17
( more to come)
Universal — Two Reels
A3231 Swing Sanatorium — Mentone (18m.) June 14
A3891 A Prince in Bondage — Rogers #11 ( 21m.) June 20
A3892 War of the Planets— Rogers #12 (20m.) . . June 27
A3232 Gals and Gallons — Mentone (18m.) Julv 12
A3233 With Best Dishes— Mentone (17m.) Aug. 9
(End of 2 rcclers for 1938-39 Season)
Beginning of 1939-40 Season
4110 The March of Freedom — Special (20m.) ...June 7
4581 The Renegade's Revenge — Oregon Trail $1
(21 min.) July 4
4582 The Flaming Forest — Oregon 92 (21m.) ... July 11
4893 The Brink of Disaster— Oregon $3 (21m.) . . July 18
4584 Thundering Doom — Oregon $4 (20m.) July 25
Vitaphone — One Reel
4711 Dave Apollon & Orch.— Mel. Mast. (10m.) . . Apr. 8
4909 The Crawfords "At Home" — Varieties
( 1 1 min.) Apr. 15
4811 Porky and Teabiscuit — L. Tunes (7y2m.) ...Apr. 22
4516 Daffy Duck & Dinosaur— Mer. Mel. (8m.) ..Apr. 22
4o09 Mechanix Illustrated $4— (10m.) Apr. 22
4/13 Artie Shaw & Orch.— Mel. Mast. ( 10m.) . . . .Apr. 29
4309 Voodoo Fire — True Adventures (12m.) May 6
4517 Thugs With Dirty Mugs— Aler. Mel. (8m.) .May 6
4812 Kristopher Kolumbus, Jr. — L. Tunes (7m.).. May 13
4610 For Your Convenience — Col. Par. (9m.) ....May 20
4714 Larry Clinton & Orch.— Mel. Mast. (9m.) ...Mav20
4519 Naughty But Mice— Mer. Mel. (8m.) May 20
4518 Hobo Gadget Band— Mer. Mel. (7m.) Mav 27
4910 Dean of the Pasteboards— Var. (10m.) May 27
4310 Haunted House — True Adventures (11m.) ..June 3
4520 Believe It or Else— Mer. Mel. (9m.) June 3
4813 Polar Pals — Looney Tunes (634m.) June 3
4/15 Leith Stevens & Orch.— Mel. Mast. (10m.). June 10
4612 Mechanix Illustrated $5 — (9m.) June 10
4814 Scalp Trouble — Looney Tunes (7m.) June 24
4908 The Right Way— Varieties (9m.) July 1
4716 Rita Rio & Orch.— Mel. Mast. (10m.) July 1
4311 Lives in Peril — True Adventures July 1
4521 Old Glory— Mer. Melodies (10m.) July 1
4611 Modern Methods — Color Parade July 15
4522 Dangerous Dan McFoo — Mer. Mel. (8m.) . . July 15
4815 Porkv's Picnic — Looney Tunes July 15
4717 Will'Osborne & Orch.— Mel. Mast. (10m.) . July 22
4911 Witness Trouble-Grouch Club— Var. (9m.). July 29
4523 Snow Man's Land — Mer. Melodies July 29
Vitaphone — Two Reels
4027 You're Next to Closing— Brev. (18m.) May 13
4028 Broadway Buckaroo — Bway. Brev. (18m.) ..June 3
4029 Wardrobe Girl— Bway. Brev. (19m.) June 17
4006 Quiet Please— Technicolor Prod. (18m.) ...July 1
4030 A Swing Opera — Bway. Brev July 22
4007 Bill of Rights— Tech. Prod Aug. 12
Universal!
784 Saturday ..
785 Wednesday
786 Saturday . ,
787 Wednesday
788 Saturday ..
789 Wednesday
790 Saturday ..
Wednesday
Saturday . .
Wednesday
Saturday . .
791
792
793
794
..July 5
..July 8
.July 12
..July 15
..July 19
.July 22
..July 26
..July 29
.Aug. 2
.Aug. 5
Fox Movietone
84 Saturday July 1
85 Wednesday ...July 5
86 Saturday July 8
87 Wednesday ...July 12
88 Saturday July 15
89 Wednesday .. July 19
90 Saturday July 22
91 Wednesday ...Julv 26
92 Saturday July 29
93 Wednesday . . . Aug. 2
94 Saturday Aug. 5
Paramount News
95 Saturday July 1
96 Wednesday ...July 5
97 Saturday July 8
98 Wednesday . . July 12
99 Saturday July 15
100 Wednesday . July 19
101 Saturday £k -
102 Wednesday ..]W^6
103 Saturday July 29
104 Wednesday ..Aug. 2
(End of 1938-39 Season)
1939-40 Season
1 Saturday Aug. 5
Metrotone
282 Saturday .
283 Wednesday
284 Saturday .
285 Wednesday
286 Saturday .
287 Wednesday
288 Saturday .
289 Wednesday
290 Saturday .
291 Wednesday
292 Saturday . .
News
..July 1
..July 5
..July 8
.July 12
. July 15
..July 19
..July 22
..July 26
. July 29
..Aug. 2
..Aug. 5
Pathe News
95199 Sat. (O.). July 1
952100 Wed. (E.).July 5
951101 Sat. (O.).July 8
952102 Wed. (E.).July 12
951103 Sat. (O.) July 15
952104 Wed. (E.).July 19
(End of 1938-39 Season)
1939-40 Sea A
05101 Sat. (0.)..Wf22
05202 Wed. (E.) July 26
05103 Sat. (O.). July 29
05204 Wed. (E.).Aug. 2
05105 Sat. (Q.)..Auff. 5
Entered as second-class matter January 4, 1921, at the post offlc* at New York, New York, under the act of March 3, 1879.
Harrison's Reports
Yearly Subscription Rates: 1270 SIXTH AVENUE Published W*eWy by
United States $1S.00 R««m IQIO Harrison's Reports, Inc..
U. S. Insular Possessions. 16.50 ROOm 1014 Publisher
Canada 16.50 New York, N. Y. P. S. HARRISON, Editor
Mexico, Cuba, Spain 16.50 »■»,*, D- * t> • • o •
Great Britain 15.75 Motlon Plcture Reviewing Service -^u,. . . . ....
Australia, New Zealand, Devoted Chiefly to the Interests of the Exhibitors Established July 1, 1S19
India, Europe, Asia .... 17.50
"f.^ r™„ Its Editorial Policy: No Problem Too Big for Its Editorial Circle 7-4682
»»<. a. i.opy Columns, if It is to Benefit the Exhibitor.
A REVIEWING SERVICE FREE FROM THE INFLUENCE OF FILM ADVERTISING
Vol. XXI SATURDAY, JULY 8, 1939 No. 27
THE CODE'S OBJECTIONABLE PARTS
{Continued from last week)
The quoted parts have been copied from the exhibitor
negotiating committee's report, which was made to the
convention.
"Page 5, III, 'Public demand for exceptional pictures.'
Nullifying conditions appeared for the first time in the
March 30 draft of proposals."
By comparing the March 30 draft with the original
memorandum, which was handed to the exhibitors early in
December last year, one finds the criticism of the exhibitor
committee's report correct.
"Page 5, III, second paragraph. Entirely new limiting
clause, never discussed with your Committee and appearing
for the first time in the March 30 draft."
The paragraph referred to reads as follows :
"An exhibitor who has been a customer of a distributor
and who has refused to contract for such distributor's
features for the situation involved shall have no right to
attempt to use this Article to compel such distributor to
license to him from time to time its outstanding features."
The original memorandum of trade practice proposals
did not contain this provision, and its inclusion in the final
draft leads one to believe that the distributors fear to let
the arbitration boards determine any cases where they feel
that the exhibitors have taken advantage of this, the
"Exceptional Pictures," clause. If arbitration is to act as a
mediator between distributors and exhibitors, the distribu-
tors should have a little more faith in the system.
"Page 7, V (a), 'Not arbitrable,' appears for the first
time in the March 30 draft."
The part of the code referred to is under "Some Run
Available," and reads as follows : ". . . an exhibitor shall
be able to obtain from a distributor a run of its features in
any situation, . . . provided (a) distributor and exhibitor
can mutually agree upon the number of features to be li-
censed and other terms and conditions ; . . ." The part ob-
jected to reads as follows: "No dispute under proviso (a)
hereof shall be subject to arbitration; . . ." This limitation
is not contained in the original draft.
"Page 9, VII, second paragraph. Was not discussed with
your Committee, appeared for the first time in the March
30 draft and, as above pointed out, materially affects the
effectiveness of the provision against forcing of shorts."
The new provision requires the exhibitor to notify, in
writing, the distributor's Home Office within forty-eight
hours after signing a contract if he had been coerced by the
salesman to sign a contract for shorts as a condition of
obtaining his features.
In the discussion of this provision on the floor of the
Minneapolis convention, an exhibitor asked the distributors
to alter the provision so as to give the exhibitor the right
to notify the distributor forty-eight hours after the approval
of the feature contract, but, although no reply was made,
the distributors' feeling seemed to be against granting
such a reasonable request.
"Page 11, XIII, second paragraph. New, nullifying and
not discussed."
The article referred to is entitled "Coercing Contracts,"
and the objectionable addition reads as follows :
"An exhibitor shall have no right to assert any claim
that he has been so coerced or intimidated [by theatre-
building threats] unless he shall have mailed to the dis-
tributor at his Home Office notice in writing of such
claim and the grounds therefor within forty-eight hours
after delivery by exhibitor of his signed application for
such license agreement." It then provides for arbitration.
This added provision is not contained in the original draft,
which treated contract coercion under the heading, "Ac-
quiring Theatres."
"Page 12, (iii), clause imposing greater burden of proof
on complaining exhibitor than is imposed on complaining
distributor was never discussed with your Committee."
The provision referred to comes under the heading, "Per-
formance of License Agreements," in the Article entitled,
"Other Subjects of Arbitration." The phrase which, in the
opinion of the exhibitor committee, places a greater burden
of proof on the exhibitor than on the distributor is, I am
sure, the following : ". . . if, . . . the arbitrators find that
the distributors arbitrarily and willfully and without color
of light, repudiated the license agreement" ; the provision
does not require the distributor to prove that the exhibitor
repudiated his license agreement "arbitrarily and willfully
and without color of light, whatever "color of light" means.
Now, if the distributor failed to ship the exhibitor's feature,
compelling the exhibitor to have a dark house for an eve-
ning or two, what difference does it make whether the
distributor's failure is owed to "arbitrariness and willful-
ness and to absence of 'color or light'? Would the arbi-
trators refuse, in such an event, to award damages to the
exhibitor? Why, then, this hair-splitting? It serves no
other purpose than to give to the exhibitors more grounds
for suspicion that the distributors are trying to take every
little advantage they can.
"Page 12 (2). Clearance. Clause recognizing propriety
of clearance, whether legally or illegally imposed, was in-
cluded without consultation, is new, and extremely danger-
ous."
The clause referred to reads as follows :
"The parties hereto recognize : that clearance, reasonable
as to time and area, is essential in the distribution and ex-
hibition of motion pictures ; . . ."
"Page 13 (3). Overbuying. Form was never discussed."
This provision considers an exhibitor not to have "over-
bought" if he should contract for 159b more than his maxi-
mum picture requirements. This provision, fair in itself,
when combined with the provisions of the cancellation
clause, places the circuit theatres even in a more advan-
tageous position than they are now, because it enables them
to contract for the product of one additional producer,
thus making competition still harder for the small theatre
owner. This should prove to the independent exhibitors
what a fallacy it is for them to accept an enlarged cancella-
tion right instead of the outright elimination of block
booking. An enlarged right is of definite disadvantage to
them ; also to the independent distributors, whose chances
of selling their product become smaller.
"Page 14 (XV), 'Agreement to Arbitrate.' Neither this
nor other arbitration features were ever discussed in the
Negotiations, except with reference to clearance. Numer-
ous suggestions made by the General Counsel are included
in the latest draft, but the adoptions and rejections of his
suggestions were not discussed even with him."
There seems to be very little to fight about the arbitration
rules, for Mr. Abram F. Meyers, Allied general counsel,
found these rules in the main fair ; they were in accordance
with the suggestions he had made to the distributors. There
are only a few minor details that he felt should be
taken care of, but Harrison's Reports believes that an
agreement on these could have been reached without much
trouble.
"Page 15-16 (XVII) — Term. No discussion. The refer-
ences to the effect on the Gxle of possible legislation was
never discussed and is out of line with assurances given in
reference to the Necly Bill.
This provision deals with the duration of the Code and
with the conditions under which a signatory may withdraw
( Continued on last page )
HARRISON'S REPORTS
July 8, 1939
"Should A Girl Marry" with Warren Hull
and Anne Nagel
{Monogram, June 10; time, 61 mm.)
A lair program drama. Although the plot is somewhat
involved, it holds one's interest because of the sympathy one
feels tor the heroine. The action keeps one in suspense, for
il is not until the end that the threat of disaster to the
heroine is removed. Two characters are extremely obnoxi-
ous, by reason of their actions ; but no effort is made to
awaken sympathy for them and, in the end, each is made to
pay for his misdeeds. The romance is pleasant: —
Upon her release from prison, Mayo Methot joins her
husband (Weldon Heyburn), who had been her partner in
crime; she surprises him by stating that she would never
again do anything crooked, for she bad been reformed by an
elderly woman prisoner, who had received a life sentence
for a murder charge and who was broken in health. This
woman had given her newspaper clippings, which gave in-
formation as to the whereabouts of her daughter (Anne
Nagel), who had been born in prison but who had no idea
that the couple who had adopted her were not her real
parents; she wanted Miss Methot to see that no harm
would come to the girl. Heyburn finds the clippings and,
without telling Miss Methot what he was doing, starts
blackmailing Miss Nagel's foster parents. Miss Nagel
finds out about it and is heartbroken, for she felt that she
would have to break her engagement to a promising sur-
geon (Warren Hull). Hull stands by her and forbids her
parents to give any more money to Heyburn. Heyburn,
knowing that Hull was in line tor the position of chief sur-
geon at his hospital, decides to sell the information to
Lester Matthews, Hull's rival for the position. Hut he
meets with an accident and is taken to the hospital, where
he dies. Matthews finds the clippings and threatens to ex-
pose Miss Nagel's past unless Hull would resign. Miss
Methot, having found out about everything, goes to Mat-
thews, demanding the return of the clippings ; when he re-
fuses, she shoots him. Hull operates on Matthews and saves
his life. Grateful for this act, Matthews promises never to
mention what he knew. Hull is made chief; he and Miss
Nagel marry.
David Silverstein and Gay Newbury wrote the story and
screenplay, Lambert Hillyer directed it, and E. B. Deri-
produced it. In the cast are Aileen Pringle, and others.
Not for children. Suitable for adolescents and adults.
Class R. Tempo, fairly fast.
"Bulldog Brummond's Bride" with
John Howard and Heather Angel
(Paramount, June 30; time. 56 min.)
This is the most far-fetched story in the "Drummond"
series ; but at least it is novel in one respect, in the fact that
the hero and the heroine are finally married. Despite the
"wild" story, melodrama-loving fans may enjoy it, since
there is fast action throughout. The closing scenes, show-
ing the hero pursuing the villain across roof tops, are quite
exciting. There is plentiful comedy, provoked by the hero's
valet and his bungling friend:—
Eduardo Ciannelli executes a daring London bank rob-
bery. By working with a house painter who was decorating
an apartment in a building close to the bank, he is able to
enter the apartment, hide the money in a radio, and then
don workman's clothing. Thus he is able to elude the
police. It develops that the apartment was to be occupied
by John Howard (Bulldog Drummond) and his bride
(Heather Angel) after their marriage. Ciannelli frightens
everyone away by pretending to be insane. He is taken
away in an ambulance but escapes. Howard, who had
realized what had happened, goes back to the apartment to
look for the money ; but Ciannelli had arrived there first.
Again he escapes ; when the lights are turned on Howard
finds a dead man, the house manager, who had tried to force
Ciannelli to split the money with him. Without realizing
that the money was in the radio, Howard ships the radio
to Miss Angel, who had gone to France to arrange for her
wedding. When he later discovers his error, he flies to
France, instructing Denny and Give to follow him by car.
He runs into trouble with the police, who had received
instructions from Scotland Yard to hold him. In the mean-
time, Ciannelli and his assistant arrive, intent on getting
the radio. But Howard outwits them, and turns the money
over to the Scotland Yard authorities, who had followed
him. Ciannelli is killed in his own trap. Howard and Miss
Angel finally marry.
H. C. McNeile wrote the story, and Stuart Palmer and
Garnet Weston, the screen play; James Hogan directed it.
Elizabeth Patterson and others are in the cast.
\"ot tor children, but suitable for adolescents and adults.
Class B.
"Stronger Than Desire" with Walter
Pidgeon and Virginia Bruce
(MGM, June 30; time, 78 min.)
Just a fair melodrama. When this was first produced in
1934, under the title "Evelyn Prentice," William Powell
and Myrna Loy appeared in the leading parts; but, even
with those stars, it was no more than fair entertainment.
Material of this type is certainly not deserving of a remake,
for it is outmoded, lacks action and human appeal. The
only redeeming features in it arc good performances and a
pretty lavish production. The scene near the end, where
Ann Dvorak tearfully confesses her guilt, is appealing : —
Virginia Bruce, married to Walter Pidgeon, a famous
lawyer, is lonesome because her husband's business kept
him away from home and from her. She becomes acquainted
with Lee Bowman, who appeared to be a charming person ;
she does not know that he was married to Miss Dvorak,
and that he made a practice of blackmailing wealthy mar-
ried women. Just when Miss Bruce was looking forward to
a European vacation with her husband and her child (Ann
Todd), she receives a note from Bowman asking her to
see him. She goes to his apartment, where he confronts her
with four innocent letters she had written to him. Knowing
that others might misinterpret the contents of the letters,
she realizes she would have to pay him for them. His de-
mands are exhorbitant. Finding a gun in a bureau drawer,
she points it at him. During a scuffle, the gun goes off, and
Bowman falls to the ground. Miss Bruce runs away, tak-
ing the letters with her, just as Miss Dvorak arrives. Miss
Dvorak is arrested for the murder. Miss Bruce pleads with
Pidgeon to represent her. On the last day of the trial, Miss
Bruce goes to court and admits her guilt. Although shocked,
Pidgeon continues with the case and proves that Miss
Dvorak had really killed Bowman. But he pleads for an
acquittal, which he obtains. He and Miss Bruce are reunited.
W. E. Woodward wrote the story, and David Hertz and
William Ludwig, the screen play ; Leslie Fenton directed it,
and John W. Considine, Jr. produced it. In the cast are
Ilka Chase, Rita Johnson, Richard Lane, and others.
Unsuitable for children or adolescents. Adult fare. Class
B.
"Bachelor Mother" with Ginger Rogers
and David Niven
(RKO, Aug. 4; time, 81 min.)
A delightful comedy. The story offers several novel
twists, holding one's attention throughout. There are a
number of situations that provoke hearty laughter be-
cause of the witty dialogue and the expert performances by
the leading players. It has plentiful human appeal, too,
awakened by Miss Rogers' devotion to a foundling baby.
This is the type of picture that should go over well with
the masses as well as with class audiences, for, in addition
to comedy and human appeal, it has romance, some music,
and good production values : —
Miss Rogers, a clerk in a department store, receives a
notice of dismissal to take effect at the end of the week.
During her lunch hour, she goes to an employment agency.
As she leaves, she notices an elderly woman leaving a baby
on the steps of a foundling home. She picks the baby up and
takes it inside, where she tells the authorities what she had
seen. But they, accustomed to such "tales," insist, despite
her denials, that it was her child. She leaves, after first
having given them her name, address, and the name of her
employer. Ernest Truex, head of the foundling home, goes
to the see the owner of the store. Instead, he interviews the
owner's son (David Niven) and induces him to retain Miss
Rogers permanently so as to enable her to keep her baby.
Niven agrees to this. He and Truex send the baby to her
with gifts. She tries to give the baby back to Niven; but
when he upbraids her for her "unmotherly" actions, she
decides to keep the baby. Niven visits her so as to give her
advice. In time their friendship ripens into love. Frank
Albertson, who was employed at the store, is angry when
Niven demotes him. He sends a letter to Niven's father
(Charles Coburn) telling him of his son's friendship with
Miss Rogers ; he also intimates that Niven was the father
of the child. Coburn, touched at the idea of having a grand-
son, insists that Niven marry Miss Rogers ; otherwise, he
would obtain a court order taking the child away from her.
After many complications, Miss Rogers accepts Niven's
marriage proposal, even though he still believed that the
child was hers.
Felix Jackson wrote the story, and Norman Krasna, the
screen play ; Garson Kanin directed it, and B. G. DeSylva
produced it. In the cast are E. E. Clive, Elvert Coplen, Jr.,
and others.
Suitability, Class A. Action pretty fast.
July 8, 1939
HARRISON'S REPORTS
107
"Four Feathers"
{United Artists, [1939-40] Aug. 4; time, 116 mm.)
An excellent British production. No matter how accus-
tomed audiences may be to "big" pictures, the lavishness of
this technicolor work, particularly in the war scenes be-
tween the British soldiers and the native tribes, will leave
them breathless. The mob scenes during the battles have
been handled so realistically that one is held in tense sus-
pense, although the brutality of the fighting in a few spots
may prove harrowing for women. There is deep human
appeal in many of the situations, awakened by the suffering
of several characters with whom one is in sympathy. The
bravery of the leading characters under the most trying
circumstances is inspiring. Although the love interest is
minimized, it has an important bearing on the story, for the
hero, by reason of his love for the heroine, eventually
redeems himself in the eyes of his friends : —
On the eve of the departure of his regiment to join Kit-
chener's army in the Sudan, John Clements, a young, sensi-
tive man, who had been forced into army life because of
family tradition, hands in his resignation. His three intimate
friends are shocked ; each of them sends him a white feather,
indicating cowardice. His sweetheart (June Duprez) breaks
their engagement. Clements asks her, too, to give him a
white feather. Wishing to regain Miss Duprez' affections,
Clements leaves for Egypt, his purpose being to show his
bravery and to return the white leathers to the givers. Dis-
guised as a mute native, he makes his way up the Nile
through hostile Arab ground. In the meantime, his three
friends had been chosen to lead their men in a bait to trap
the Mahdi. Ralph Richardson, the leader, who had gone
to the mountains to look for the tribes, accidentally drops
his sun helmet. He faints. By the time he is found, the in-
tensity of the sun had blinded him. Before he could warn
his men, the Dervishes attack. Richardson is left for dead,
and his two friends are made prisoners ; the remainder are
killed. Clements, who had pretended to be fighting with the
natives, leads, at times carrying, Richardson across the
desert to English headquarters, without revealing his iden-
tity. He then slips one of the feathers into a letter Richard-
son had been carrying in his pocket. He again joins the
tribe in an effort to save his other two friends. This he
finally accomplishes, but not until he had suffered tor-
tures at the hands of the tribe, who had discovered his
identity. He and his friends are directly responsible for
Kitchener's eventual victory. In the meantime, Richardson,
who had returned home still unaware of who had been his
benefactor, becomes engaged to Miss Duprez. But when
he learns the truth, he releases Miss Duprez. A joyful
reconciliation takes place between Clements and Miss
Duprez.
A. E. W. Mason wrote the story, and R. C. Sheriff, the
screen play ; Zoltan Korda directed it, and Alexander
Korda produced it with Irving Asher as associate pro-
ducer. C. Aubrey Smith and others are in the cast.
Suitability, Class A.
Note : Paramount produced this in 1929, with poor
results.
"Hell's Kitchen" with "The Dead End"
Kids, Margaret Lindsay and Ronald Reagan
{Warner Bros., July 8; time, 81 mm.)
This melodrama, with a slight comedy touch, is some-
what depressing entertainment. Not only is the background
sordid, but the story itself is morbid, for it treats with
cruelty and suffering. One of the most offensive characters
seen in a long time is that portrayed by Grant Mitchell. As
the sadistic head of a boys' reform school, he goes so far as-
to punish one of the boys, who had a bad cough, by putting
him in a refrigerator, thereby causing the boy's death. But
that is only one of his offensive acts. The closing scenes,
too, are objectionable, for they show the young boys taking
the law into their own hands in dealing with Mitchell.
Stanley Fields, as a reformed gangster who becomes inter-
ested in the school, supplies the light touch. One exciting
feature is a rough hockey game. The romance is routine : —
Fields, a gangster, who had been arrested and tried, is
given a suspended sentence; the Judge tells him that if he
could prove within a year that he had changed for the
better, the sentence would be removed. Fields, following
the advice of his nephew-lawyer (Ronald Reagan), decides
to give up all his rackets. By so doing, he incurs the enmity
of a hockey manager. Having contributed large sums of
money to a reform school headed by Mitchell, Fields de-
cides to take an active interest in it ; he obtains an appoint?
menl to work with Mitchell. When he arrives, he is amazed
to learn that Mitchell had kept the money for himself, and
furthermore that he was treating the boys cruelly. He soon
changes things, thereby winning the boys' respect. Reagan,
with the help of Margaret Lindsay, a teacher, forms a
hockey team. Fields arranges lor the team to play another
school, for which he hires a large place. Mitchell plots
with the hockey manager to ruin tields. The manager puts
his own rough players on the competing school's team, and
then bets fields a large sum of money. Fields' team natur-
ally loses, but, when he finds out about the double-cross,
he knocks down the manager. Since this was against the
parole rules, he is forced to run away. Mitchell goes back
to his old tactics. The boys become enraged when one of
the inmates dies because of Mitchell's cruelty. They rebel;
they try Alitchell and find him guilty. Fields arrives in
time to stop them from killing Mitchell. He sets the school
in order, and then gives himself up to serve his term.
Reagan and Miss Lindsay take charge.
Crane Wilbur wrote the story, and he and Fred Niblo, Jr.,
the screen play ; Lewis Seiler and E. A. Dupont directed it.
Too morbid for children. Suitable for adolescents and
adults. Class B.
"The Man Who Dared" with Jane Bryan
and Charley Grapewin
{1st National, June 3; time, 6U min.)
When this picture was first produced in 1931, under the
title "'1 he Star Witness," it was excellent entertainment.
But many gangster pictures, more exciting than this, have
been produced since that time ; consequently, this remake
is only lair program entertainment. As was the case in the
first picture, the gangster is not glorified ; instead, he is
made to appear as something despicable compared to de-
cent, upright citizens. One situation may prove too har-
rowing for the average spectator ; it is the one where the
gangsters beat a man unconscious. The closing scenes hold
one m lair suspense, affording some comedy in addition to
drama because ot the amusing characterization by Charley
Grapewin as an old man with a strong will.
1 tie story deals with a family, consisting of father
(Henry O'Neill,), mother (Elisabeth Risdon), two sons
(Jimmy McCallion and Dickie Jones), daughter (Jane
Bryan; and grandfather (Grapewin), who are witnesses
to the murder of a government investigator by gangsters.
They are terror-stricken when the gangsters enter their
home so as to escape through the rear ot the house. Ihey
voluntarily go to the District Attorney's office where, from
pictures, they pick out one of the gangsters, who is arrested.
A few days before the trial O'Neill is kidnapped by gang-
sters and, when he refuses not to testify, is beaten uncon-
scious. This incident frightens the family ; and later, when
the gangsters kidnap Dickie, they make up their minds not
to testily. Grapewin is the only one who insists that they
testify. On the day of the trial, Grapewin escapes from
police surveillance, and goes out in search of Dickie. He
finds him ; after a terrific battle with the gangsters, in
which the police join, he rescues Dickie and rushes to
court with him. Through Grapevvin's testimony, the gang-
ster is convicted.
Lucien Hubbard wrote the story, and Lee Katz, the
screen play ; Crane Wilbur directed it, and Bryan Foy pro-
duced it. In the cast are Fred Tozere and John Russell.
Unsuitable for children, but satisfactory for adolescents
and adults. Class B. Tempo, fairly fast.
"Nancy Drew Trouble Shooter" with
Bonita Granville, Frankie Thomas
and John Litel
{Warner Bros., June 17; time, 69 mtn,)
Those who enjoyed the two previous pictures in this
series will find this one, too, fairly entertaining. Again
Bonita Granville and her young friend (Frankie Thomas)
set out to solve a mystery ; but this time Bonita is more
interested in the case, for a good friend of her father's
(Aldrich Bowker) was involved in the murder, although
innocent of the crime. As usual, laughter is provoked by
the methods employed by the two youngsters to gain in-
formation. The closing scenes, in which Bonita and Frankie
are trapped in a plane from which the pilot had jumped, are
fairly exciting and somewhat comical. There is a suggestion
of a romance between Bonita's father (John Litel) and
Charlotte Wynters, which Bonita at first resents, for she
believed Miss Wynters to be a siren. But she later grows
fond of her and, therefore, docs not object to her father's
attentions to Miss Wynters; the romance is, however, not
culminated.
Kenneth Ganiet wrote the original screen play; William
Clemens directed it. In the cast are Edgar Edwards, Rente
Riano, Roger Imhof, Willie Best, and others.
Suitability, Class A. Tempo, fairly fast.
108
HARRISON'S REPORTS
July 8, 1939
from it. The part objected to seems to be in the third para-
graph, reading partly as follows :
". . . (a) in the event that any legislation enacted after
the date hereof shall be inconsistent with this Code or any
provision hereof or shall require a substantial change in
the method of carrying on its business, provided that such
withdrawal shall be effective only in the territory governed
by such legislation ; . . "
"Page 20 (3). Disputes relating to clearance. Contrary
to all discussions during the negotiations, as above pointed
out, and appeared for the first time in the March 30 draft."
The provision referred to deals with disputes between
exhibitors, and provides for the right of the distributor to
choose an arbitrator. The Allied leaders felt that, in the
event that the exhibitor complained against was an affiliated
exhibitor, the arbitration board would be lopsided, in that
the independent exhibitor would have to win to his side
both extra arbitrators, chosen by the three arbitrators —
complaining, exhibitor, exhibitor complained against, and
distributor involved. But even this could have been adjusted
to the satisfaction of the independent exhibitors, if the Code
had been accepted, for the distributor representatives in
Minneapolis implied, by their manner, that an agreement
could have been effected on this point.
"In order to appreciate the significance of these changes,
most of which appeared for the first time in the March 30
draft, it should be remembered that your Committee had
no contact with Mr. Kodgers' group after January 16;
that the distributors produced nothing in the way of a re-
vised draft between January 16 and March 30, and this in
spite of the fact that it was published in the trade press and
generally known that the authority of the Allied Committee
would lapse on March 1st. The foregoing fully vindicates
the position taken by Allied on December 1 and restated on
numerous occasions since then that it would not take final
action on the proposals until it had a complete program
which the distributors would pronounce final."
(To be continued next week)
PROOF OF MONOPOLY
Under the heading, "Majors to Unite in Opposing New
Equity Action," Film Daily, in its issue of May 1, wrote
partly as follows :
"Filing of the new equity suit by the Government against
the majors and four Griffith-controlled circuits in the
Southwest, in the opinion of qualified industry observers,
means :
" 'Virtual assurance that there will be a defensive "united
front" established by the majors and the large independent
circuits which are, according to the Department of Justice,
to be singled out for general court offense in an attempt to
"make little ones out of big ones" '. . ."
The Government would want no better proof to convince
the court that a monopoly exists in the motion picture
industry. If the major should make a common cause, the
court would learn that, in the existing monopoly, whenever
one of the monopoly's components is attacked, every other
component rushes to its rescue.
MORE SUITS AGAINST INDEPENDENT
THEATRE CHAINS
According to the trade papers, the U. S. Government
may file a suit against the Schine circuit, the home office
of which is at Gloversville, N. Y., and which has interests
extending in other states beside New York State ; also
against a Southern circuit, meaning perhaps the Sprague
circuit.
If the Government should file a suit against the Schine
circuit, this circuit may not receive much sympathy from
the newspapers of this state, for in many cases its execu-
tives have acted, to the knowledge of this paper, in any-
other but a sympathetic way.
In one instance, the manager of a theatre went so far
as almost to persecute the local newspaper, simply because
its publisher refused to insert an advertisement that ap-
peared to him as being contrary to post office regulations.
For this, the Schine theatre manager withdrew his ad from
that paper.
The trouble with large chains is that they do not know
how to use the great power they acquire as a result of the
ownership of a large number of theatres ; they lose all sense
of proportion. The Dallas case is an example.
Speaking to the delegates of the National Retail Associa-
tion, which convened at Rochester, New York State several
months ago, Mr. Wendell Berge, special assistant attorney-
general, said that Government regulation of industry is
inevitable where competition fails or cannot be restored as
the "natural checkmate upon irresponsible use of pewer."
The New York Times, too, made a similar comment
editorially several months ago ; it dealt with the report of
the Federal Trade Commission, which was made after an
investigation of monopolistic tendencies in the steel indus-
try. Alter calling the report as "perhaps one of the most sig-
nificant papers which has come from Washington in recent
months," The Times said partly :
". . . Unless this 'fundamental principle of capitalism'
| reducing prices in a falling market] is followed, the Com-
mission holds that there can be no real recovery from
depression. Worse still, private capitalism will dig its own
grave. For the absence of free competition will simply
invite more and more public regulation of prices, of wages,
of production schedules and gradually of everything else ;
and in the end private business will find, as it has already
found to its dismay in totalitarian nations, that the only
alternative to a system of free competition is outright
regimentation by a government in complete control of the
whole situation."
The moving picture producers should realize that we can-
not go back ; we must move forward. One of the forward
moves they should make should be to break up voluntarily
the stranglehold they have been having upon exhibition.
The Neely Bill is a progressive move, and they should not
oppose it, particularly since they, too, will benefit from its
provisions, not only by getting better prices for their better
pictures, but also by gaining the good will of the public.
Let them not remain under the illusion that the fight against
block-booking will let up. If they keep on opposing its
outlawing, not only this regulation but other regulations
will follow.
Take, for instance, the following regulation: I have read
in the newspapers a short time ago that the Government
is seeking the passage of a law that will make the officers
of the corporation responsible for any law violation by the
corporation. If such a law were passed, the heads of cor-
porations, moving picture corporations included, will have
no one to blame but themselves.
FORECASTS OF STORIES ANNOUNCED
FOR PRODUCTION IN 1939-40
First National-Warner Bros.
(Continued from last week)
"WE ARE NOT ALONE," the story by James Hilton
— a drama, dealing with the hanging of two innocent per-
sons : The father, a doctor, had been called to attend a
woman (heroine) who had attempted to take her own life.
Because the landlady where the heroine lodged ordered her
to leave, the doctor takes her to his own home, so as to
look after his young son, a nervous boy and a liar. Some
time later, the doctor's wife is found dead of poison, and
the doctor and the heroine are arrested. Circumstantial
evidence is so strong against them that they are convicted
and hanged. Years later the son confided to a friend that,
through his pranks, his mother had taken the wrong medi-
cine to cure her headache. He had done nothing about it,
though. Who would have believed a liar?
Comment : This is a powerful but very unpleasant trag-
edy. Who can relish seeing two persons hang for murder
when they were innocent? Even the strong pity one feels
for the condemned persons is impotent to overcome the
feeling of horror.
Forecast : There is no doubt that Warner Bros, will alter
this story considerably before putting it into pictures. As it
stands, it should make a powerful picture, but a decidedly
unpleasant entertainment. It should draw well from among
the morbidly inclined ; and, if popular actors should be
given the leading parts, the picture's drawing powers will
naturally be enhanced.
"YOU CAN'T ESCAPE FOREVER," the Thelma
Strabel Cosmopolitan Magazine story, a romantic comedy-
drama, dealing with a girl who is engaged to one man but
who meets and falls in love with another man, eventually
marrying him. .
Comment : The story is light weight, but there is enough
action to keep one interested, and enough comedy situations
to keep one amused all the time.
Forecast : The picture should turn out of good quality,
and since George Brent has been announced as the male
star it should draw in proportion to his popularity.
Entered as seoond-cla*s matter January 4, 1921, at the post office at New Torls, New York, under tho act ef Marah J, 187S.
Harrison's Reports
Yearly Subscription Rates: 1270 SIXTH AVENUE Publishe* WmMt by
United States $15.00 R(Vln,lJl19 Harrison's Reperts. I»c.
U. S. Insular Possessions. 16.50 ROOm 18U Publisher
Canada 16.50 New York, N. Y. P. S. HARRISON, Editor
Mexico, Cuba, Spain 16.50 . ,, .. _,. _ . , „ .
Great Britain 15.75 A Motion Picture Reviewing Service , ....
Australia, New Zealand, Devoted Chiefly to the Interests of the Exhibitors Established July 1, 1J19
India, Europe, Asia .... 17.50
or „ Its Editorial Policy: No Problem Too Big for Its Editorial Circle 7-4622
"*c ^ Lop', Columns, if It is to Benefit the Exhibitor.
A REVIEWING SERVICE FREE FROM THE INFLUENCE OF FILM ADVERTISING
Vol. XXI SATURDAY, JULY 15, 1939 No. 28
RODGERS ANSWERS THE ALLIED
COMMITTEE'S REPORT ON
THE CODE
On July 3, W. F. Rodgers, acting chairman of the
distributor negotiating committee, issued a statement to
the trade answering the Allied negotiating committee's
report on the rejection of the code, giving his reason for
his committee's withdrawal from negotiations with Allied.
This statement will be printed in these columns in full,
in two or three installments, as space permits ; it will be
treated in the same manner as the Allied committee's re-
port; that is, comment will be made on it whenever com-
ment is needed. Where this paper feels that Mr. Rodgers
is right in his contentions, it will say so ; likewise, when-
ever Mr. Rodgers is, in this paper's opinion, wrong, it will
again say so.
Mr. Rodgers' statement:
"The Distributor's Committee and those they represented
in the Trade Practice conferences and negotiations heard
the Allied president read a statement at Minneapolis citing
the reasons for Allied's rejection of the suggested Trade
Practice Code.
"Each distributor represented had attended the Minne-
apolis meeting by invitation and under the impression that
there was to be an open forum when a frank discussion
would be had of the Code, its principles, and what it was
believed possible to accomplish under its application.
"The distributors were heard on Wednesday, June 14th,
and the following day learned to their amazement that the
Allied Board had previously accepted their Negotiating
Committee's recommendation to reject the Code and the
rejection was accordingly decided the day before the dis-
tributors had an opportunity to be heard."
Comment : Mr. Rodgers is right when he says that the
report had been adopted by the Allied Board of Directors
one day before the distributors were given a chance to air
their views at the convention ; it was merely modified
slightly on Thursday, the last day of the convention, to
make it conform with the statements made by Mr. Sears
on that day. Such an act was, of course, not in accordance
with the best ethics. After all, Allied had invited the dis-
tributor representatives and these accepted only because
they had been assured that there would be a free and fair
discussion of the provisions of the Code on the floor of the
convention, where every one would be given a chance to
speak his mind. "Each theatre owner," Col. Cole, Allied
president, is quoted in the May 20 issue of Motion Picture
Herald, as having said, "will be given an opportunity to
hear, and to answer the other side, and from there on he is
on his own. ... If the majority of theatre owners of the
U. S. want to accept the trade practice reforms as sub-
mitted by the producers, they may rest assured that Allied
will find no fault, and we are positive that the producer-
distributors feel likewise."
The publicity matter that went out from the offices of
other Allied leaders, too, assured every one in the trade
that the convention floor would be an open forum. By
voting a rejection of the Code in advance, and afterward by
submitting a formal report of the reasons for the rejection
on the floor of the convention before a vote was taken, the
Allied board of directors failed to act in a spirit of fair
play, for their action had the natural effect of influencing
the individual Allied members, not so much by the merit of
the Allied negotiating committee's contentions, but by the
mere fact that the Allied board had already acted, and
would expect the membership to ratify its action. This
made the distributor representatives feel that to take a vote
was useless.
The Allied board could have avoided criticism if it had
designated two or three spokesmen to condemn the Code on
the convention floor, employing the criticism contained in
the committee's formal report without a reading of the
report itself, just as the distributor representatives praised
it on Wednesday afternoon, and as they would have done
again on Thursday afternoon. As a matter of fact, such a
procedure had been adopted by Al Steffes, who, speaking
on the convention floor as an individual, attacked the Code
scathingly. He minced no words, and his language was at
times harsh ; yet no one resented his method, because that
was exactly what the proponents of the Code expected — a
hard fight for as well as against it, but an open one. Then
a vote could have been taken to ascertain the sentiment of
the convention. After such a vote, the Allied chairman
could have called a meeting consisting only of Allied mem-
bers, to take a vote on it.
It must be remembered that a vote on the floor of the
convention, in which every exhibitor present, regardless
of his affiliation, would take part, would not have been
binding on Allied. That is exactly what Col. Cole said in
a statement that was printed in the trade papers of May 22.
After pointing out that the convention would be in the
nature of a mass meeting, and that, although a vote would
be taken of all the exhibitors present, the results would
not bind Allied, he added :
"Allied's policies are determined solely by vote of the
directors, wno represent eveiy affiliate unit. 1 am not
saying that the convention vote may not have a tremendous
errect on the decision of the board, but many of the ballots
will be cast by exhibitors from the Minneapolis area.
"Allied's board, however, represents all sections of the
country, and a vote by the directors would be truly repre-
sentative of Allied sentiment nationally."
Although Allied led, as said, those it had invited to the
convention to believe that there would be a free and open
discussion, followed by a vote ot all exhibitors present,
that the Allied organization would not be bound by this
vote on the ground that it could be bound only by vote of
its Board of Directors, but that the vote might have a
great effect on the decision of the Board, it reversed the
procedure : betore calling tor a vote, Col. Cole read the
formal report of the exhibitor negotiating committee re-
jecting the Code, and announced that the Allied Board had
already adopted unanimously its rejection. Thus the whole
purpose of the open forum had been defeated, not to the
credit of Allied and of those who stand by the Allied cause.
The Rodgers statement continues :
"It was quite apparent to the distributors from the very
outset of the negotiations in October last that some of the
Allied representatives participating in the negotiations did
not want a Code in any form.
"This seems to be borne out by the nature of the report
rejecting the Code. Contrary to the statements contained
in this report, the Code covers, not substantially, but
wholly, every single item discussed and agreed upon with
the Allied Committee. In addition, the Code also contains
many other provisions favorable to exhibitors that were
not even requested of the distributors."
Comment : Mr. Rodgers' statement, "... every single
item discussed and agreed upon with the Allied Commit-
tee" will not find exhibitors and distributors in agreement.
After the November 3 meeting of the two negotiating
committees in Chicago, Rodgers, in his capacity of acting
chairman of the distributor committee, issued a statement
to the effect that an "understanding" had been reached
between the two committees. On the other hand, the state-
ment issued by Col. Cole, just as he and his committee were
rushing to catch the train, did not contain the word "under-
standing" ; it merely said that all subjects brought forward
by both sides had been "fully discussed," that publication
of details had to await final action "based on a written
(Continued on last pa(ic)
110
HARRISON'S REPORTS
July 15, 1939
"The Man in the Iron Mask" with
Louis Hayward and Joan Bennett
( I nited Artists [1939-1940], Aug. 11 ; time, 110 min.)
Produced with lavishness and acted with skill by a com-
petent cast, this swashbuckling costume melodrama is good
mass entertainment. The story is interesting, dealing with
court intrigue during an exciting period of France's his-
tory. Parts of the picture are, however, draggy because of
an overabundance of dialogue, which slows down the
action. As a matter of fact, with the exception of one or
two good fights during the first half, most of the excite-
ment is concentrated in the last thirty minutes; it is then
that the spectator is held in tense suspense. The diabolical
method employed by King Louis XIV to torture his twin
brother by placing an iron mask over his head and face
may prove somewhat gruesome to sensitive spectators. The
romance is charming : —
King Louis XIII is faced with a problem when the
Queen gives birth to twin sons. Realizing that two heirs to
one throne would prove dangerous, he entrusts the second
born of the twins to the care of his good friend D'Artagnan
(Warren William), extracting a promise from him that
he would not disclose his royal birth ; they feel confident
that no one would learn the truth. But Fouquet (Joseph
Schildkraut), a schemer, had overheard the conversation.
Upon the death of the King, his son Louis XIV (Louis
Hayward) succeeds him. The new King, slightly effemi-
nate in manner, but cruel and vicious as a ruler, plans with
Fouquet means of taxing the people to the point of starva-
tion. Philippe, the twin brother (also played by Hayward),
grows up courageous, brilliant, and kind. Through Fou-
quet's scheming, he is brought to the attention of Louis
XIV; the King, not knowing of their relationship, uses
Philippe to take his place on dangerous missions. Philippe
meets and falls in love with Maria Theresa (Joan Bennett),
the King's fiancee. She is puzzled at the change in his
manner. When Louis finds out that Philippe was his
brother, he plans to get rid of him. He has an iron mask
placed over his head and face, and then throws him into
prison. D'Artagnan and his three musketeers, with the
help of Alaria Theresa, to whom they had revealed the
truth, free Philippe. Louis and Fouquet eventually die in
a trap they had set for Philippe. Philippe becomes King
and marries Maria Theresa.
The plot was adapted from the novel by Alexander
Dumas ; George Bruce wrote the screen play. James W'hale
directed it, and Edward Small produced it. In the cast are
Alan Hale. Walter Kingsford, Miles Mander, Marian
Martin, and others.
Suitability, Class A.
"Second Fiddle" with Tyrone Power
and Sonja Henie
(20//j Century-Fox, July 14; time, 86 mm.)
The combination of star names and the popularity of
Trving Berlin's music should assure good box-office returns
for this picture. It is, however, just fairly good entertain-
ment, slow in some spots, and obvious in its plot develop-
ment. The Sonja Henie fans may be disappointed, for the
skating is kept down to a minimum. Miss Henie does one
number, a tango, with Stewart Reburn, and a solo ; missing
are the large group skating numbers and the lavish mount-
ings. The comedy is good, and the romance pleasant : —
In their long search for a girl to take the heroine's part
in an important picture, the motion picture studio sends
Tyrone Power, a publicity agent, to interview Miss Henie,
a Minnesota school teacher. He induces her to leave for a
screen test; her aunt (Edna May Oliver) accompanies
them. Her test is successful and she is given the part. In
order to -build up publicity for her, Power conceives the idea
of linking her name romantically with that of Rudy Vallee,
a star. Vallee is in on the scheme. But Miss Henie takes it
all seriously and falls in love with Vallee ; she is heart-
broken when she learns the truth. She and her aunt go back
home. Although she is acclaimed as a great find when the
picture is previewed, she refuses to return to Hollywood.
Power, who really loved her, goes to plead with her. He
arrives in time to prevent her from marrying Lyle Talbot,
whom she did not love. He confesses his love for her, telling
her that he had written all the notes and sent the flowers
that had presumably been sent to her by Vallee. She forgives
him and they are united.
George Bradshaw wrote the story, and Harry Tugend,
the screen play ; Sidney Lan field directed it. and Gene
Markey produced it. In the cast are Mary Hcaly, Alan
Dinehart, Minna Gombell, Spencer Charters, and others.
Suitability, Class A. Tempo, slow in spots.
"On Borrowed Time" with Lionel
Barrymore, Sir Cedric Hardwicke
and Bobs Watson
(MGM, July 7 ; time, 98 mm.)
A fine artistic achievement, but limited in appeal to class
audiences. For all its light, homey, and sentimental touches,
it is pretty sombre entertainment, since the underlying
theme is that of death. There are scenes that tear at one's
heart ; particularly effective is the situation in which young
Bobs Watson tearfully accuses his grandfather of not
loving him any longer. The performance given by this
youngster is something that spectators will talk about for a
long time. He so endears himself to the spectator, that his
death in the end is extremely depressing ; as a matter of
fact, all five characters who die arc people one likes ; there-
fore, one feels unhappy about their deaths. Audiences who
enjoy something novel should find this picture to their
liking : —
Death, in the form of a man called "Mr. Brink" (Sir
Cedric Hardwicke), appears on earth, bringing death to a
young couple. Their child (Bobs Watson) is cared for by
his grandfolk (Beulah Bondie and Lionel Barrymore). A
greedy aunt (Eily Malyon) tries to obtain control of Bobs
so as to get his inheritance, but Barrymore warns her to
keep away from them. "Mr. Brink" visits granny and takes
her away. He then visits Barrymore and attempts to take
him; but Barrymore fights him because he felt he had to
remain on earth to help Bobs. Barrymore tricks "Mr.
Brink" into climbing up a tree from which he could not
descend until Barrymore ordered him to do so. Word gets
around that Barrymore was crazy. Miss Malyon tries to get
a court order awarding her custody of the boy and confining
Barrymore to an insane asylum. But finally Barrymore
convinces Henry Travers, a doctor, of his sanity. Travcrs
begs him to release "Mr. Brink" for the benefit of mankind,
threatening otherwise to carry out the court order. "Mr.
Brink" brings about an accident to Bobs that cripples him.
Barrymore, carrying Bobs in his arms, finally begs "Mr.
Brink" to descend and to bring death to both himself and
Bobs, which he does.
The plot was adapted from the play by Paul Osborn ;
Alice D. G. Miller, Frank O'Xeil and Claudine West wrote
the screen play, Harold S. Bucquet directed it, and Sidney
Franklin produced it. In the cast are Una Merkel, Xat
Pendleton, Grant Mitchell, and others.
Too sombre for children ; Class "A" from a moral stand-
point, but "B" for general appeal. Tempo, somewhat slow.
"The Magnificent Fraud" with
Akim Tamiroff, Lloyd Nolan
and Patricia Morison
(Paramount, July 21 ; time, 77 mitt.)
This melodrama, revolving around political intrigue in
a mythical country, is just fair entertainment. The story is
extremely far-fetched ; for instance, one is supposed to
take seriously the idea that an actor, by means of makeup,
could fool everyone into believing that he was actually the
man whose place he was taking. The idea may intrigue
children but adults will find it hard to take. The picture has
a few exciting moments as a result of this deception.
Comedy and a formula romance round out the plot. Akim
Tamiroff's performance is the outstanding feature : —
The day before the arrival of an American millionaire
(Ralph Forbes) to negotiate a $10,000,000 loan with the
president of a mythical country, the president (Akim Tami-
roff) is injured by a bomb thrown by a radical. Before he
dies, he gives to his confidential secretary (Lloyd Nolan)
the name of the man he wanted to succeed him. Nolan, eager
to carry out the president's last wish, engages a clever actor
(also played by Tamiroff), who, by means of makeup, is
able to pose as the president. At first he refuses to go
through with the business procedure of the loan because he
was having so good a time living in luxury. He finally
makes arrangements to sign the loan agreement, at which
time he names the man to succeed him — the man named by
the real president. An irate conspirator, who had had
visions of becoming president, shoots and kills the actor,
and is himself killed by a loyal subject. Thus everyone
thinks that their president had died a martyr. His work
done, Nolan turns to Patricia Morison, with whom he had
fallen in love ; she had been Forbes' fiancee, but, upon
meeting Nolan, had transferred her love to him.
Charles G. Booth wrote the story, and Gilbert Gabriel
and Walter Ferris, the screen play ; Robert Florey directed
it, and Harlan Thompson produced it. In the cast are Mary
Boland, Steffi Duna, Barbara Pepper, George Zucco, and
others.
Suitability, Class A. Tempo, somewhat slow in spots.
July 15, 1939
HARRISON'S REPORTS
111
"The Forgotten Woman" with Sigrid Gurie
(Universal, July 7 ; time, 68 mitt.)
A fairly good program melodrama with human interest;
it should direct an appeal mainly to women. The story is not
new ; nevertheless it holds one's interest well because of the
sympathy one feels for the heroine, who, although innocent,
is persecuted by the law. There are several scenes that stir
one's emotions as a result of the sacrifice on the part of the
heroine for her child's sake. Sigrid Gurie shows to advan-
tage in this picture, particularly in the dramatic scenes : —
Miss Gurie and her husband (William Lundigan), an
artist, advertise for a couple to share expenses on their auto-
mobile trip to Florida. Unknown to them, the two men who
answer the advertisement are crooks and killers. They
force Lundigan and his wife to accompany them on a holdup,
during which the watchman is killed. In the police chase that
follows, Lundigan and one of the crooks are killed, the
other crook escapes, and Miss Gurie is arrested. The dis-
trict attorney (Donald Briggs) refuses to believe her story
and prosecutes her. She is convicted and sent to prison,
where her baby is born. The child is taken from her and put
in an institution. Upon her release, she tries to get the baby,
but is told that she would have to show that she could sup-
port the child before they would release him. In the mean-
time, the other crook is caught and confesses during Briggs'
absence from the office. This information is kept from
Briggs on instructions from Paul Harvey, a politician, for
fear lest it would ruin his career. Eventually he learns the
truth and is shocked. He takes Miss Gurie's child from the
institution to his own home, where his sister cares for him.
Harvey, tailing to persuade Briggs not to prosecute him on
a corrupt banking charge, decides to use the information
about Miss Gurie's innocence to ruin Briggs. Miss Gurie
decides to work with him ; but, when she realizes how kind
Briggs was to her child, she changes her mind. She and
Briggs fall in love with each other.
John Kobler wrote the story, and Lionel Houser and
Harold Buchman, the screen play ; Harold Young directed
it, and Edmund Grainger produced it. In the cast are Eve
Arden, Donnie Dunagan, Elisabeth Risdon, Ray Walker,
and others.
Not for children. Suitable for adolescents and adults.
Class B. Tempo, fairly fast.
"She Married a Cop" with Phil Regan
and Jean Parker
(Republic, July 12; time, 66 tain.)
A fair comedy, suitable for neighborhood and for small
town theatres. Although the story is routine, it is developed
in an amusing way, provoking laughter on several occasions.
As an added attraction, Phil Regan sings a few songs, three
of which are of the popular variety. The romance is
pleasant : —
Jean Parker, producer of animated cartoons, looks for a
singer whose voice could be dubbed to fit her new character,
a pig. She is enchanted when she hears Regan, a policeman,
sing. With the help of her supervisor (Jerome Cowan), she
induces Regan to sign a contract, leading him to believe
that he would appear in a picture. In the meantime she and
Regan fall in love and marry. When the cartoon is pre-
viewed, Regan is humiliated when he sees that his voice was
used for a pig. He quarrels with Miss Parker and they part.
He goes back to the police force. Miss Parker gives up her
work and moves to the tenement quarters where Regan
lived with his family. Just when tilings begin to straighten
out, another misunderstanding arises; this time Miss
Parker leaves Regan. Regan finally realizes that people
enjoyed hearing his voice in the amusing character of the
pig. He goes back to the work and becomes reconciled with
Miss Parker.
Olive Cooper wrote the original screen play ; Sidney
Salkow directed it, and Sol C. Siegel produced it In the
en st are Dorothea Kent, Benny Baker, Barnett Parker
Horace MacMahon, Oscar O'Shea, and others.
Suitability, Class A. Tempo, fairly fast.
"News Is Made at Night" with
Preston Foster and Lynn Bari
(20/A Century-Fox, July 21 ; time, 71 min.)
A good program melodrama, with plentiful comedy and
a pleasant romance. The action is fast and exciting, holding
one in tense suspense. Even though it is simple for one to
identify the villain, this does not detract from one's interest
in the development of the plot. The closing scenes, in
which the hero and the heroine arc trapped iii the villain's
apartment, are pretty thrilling: —
Preston Foster, managing editor of a powerful news-
paper, believes in the innocence of Paul Guilfoyle, a gang-
ster who had been sentenced to die on a murder charge.
Even though it was against his principles to employ women
reporters, Foster is compelled to employ Lynn Bari as a
reporter because she knew too much about the case. But she
makes a good assistant and Foster gradually weakens; as
a matter of fact, he falls in love with her. By means of a
ruse, Foster is able to stay the execution, thus giving him
an opportunity to search further for the guilty person. He
and Miss Bari finally do so ; they prove that the gangster
leader was none other than Foster's wealthy friend (Minor
Watson), who had been responsible for the murder and
for other murders. With the case finished, Foster turns his
attentions to Miss Bari, who, too, loved him.
John Larkin wrote the original screen play, Alfred
Werker directed it, and Edward Kaufman produced it. In
the cast are Russell Gleason, George Barbier, Eddie Col-
lins, and others.
The murders make it unsuitable for children. Good for
adolescents and adults. Class B. Tempo fast.
"Career" with Anne Shirley
and Edward Ellis
(RKO, Jidy 7 ; time, 79 min.)
This homespun drama, revolving around small-town life
and characters, is good entertainment. It exerts deep human
appeal and has comedy, and towards the end it holds one in
suspense. The story is simple but somewhat different ; the
ending, in particular, is novel, since it departs from the
usual "boy-gets-girl" formula. One unpleasant situation is
that in which a mob sets out to lynch an innocent man. The
manner in which the intended victim stops them proves
effective. The picture may show better than average box-
office possibilities, for the winners of the Jesse Lasky
"Gateway to Hollywood" contest appear in it, a fact that
has been receiving radio and newspaper comment : —
Edward Ellis, a respected citizen of a small Iowa town,
dislikes and mistrusts the town banker (Samuel S. Hinds).
But Hinds attributes his dislike to the fact that he and not
Ellis had been the successful suitor in a courtship involving
the same girl. Ellis finds it difficult to convince his wife
(Janet Beecher) that he really loved her and not the girl
he had lost in his youth. His son (John Archer) falls in
love with Hinds' daughter (Anne Shirley). She promises
to wait for him until he returned from college. During his
absence, Ellis, realizing the instability of Hinds' bank, with-
draws his life savings. Hinds uses this as an excuse to close
his bank. The infuriated depositors descend on Ellis, intent
on hanging him, but he shames them into leaving. He then
takes over the management of the bank, risking his own
savings to do so. Archer returns from college, only to learn
that Miss Shirley was marrying some one else. His father,
who had once gone through the same heartache, consoles
him.
The plot was adapted from the novel by Phil Stong ;
Dalton Trumbo wrote the screen play, Leigh Jason directed
it, and Robert Sisk produced it. In the cast are Leon Errol,
Alice Eden, and others.
Suitability, Class A. Tempo, somewhat slow.
FORECASTS
(Continued from last payc)
"A CHILD IS BORN," based on the Mary McDougal
Axelson play, "Life Begins," produced by Warners in
1932, with Loretta Young in the leading part. The present
version will have Geraldine Fitzgerald ("Dark Victory"),
Gale Page ("Four Daughters"), Jeffrey Lynn and Gladys
George. It is a strong drama, unfolding in a maternity ward
of a prison for women. The heroine, convicted for murder,
is about to become a mother. The doctors tell her husband
that it is a case where the two cannot come out alive, but
lie wants his wife. The heroine, however, facing a twenty-
year term, pleads with the doctors to save the child and
let her die. And that is what they do.
Comment : The first version turned out a powerful enter-
tainment, but despite Miss Young's popularity the picture
did not set the world afire. There is much human interest
in the story, and considerable comedy, but its starkness is
not pleasurable.
Forecast : The picture should turn out powerful, but
unless radical alterations arc made in the plot, it is doubtful
whether it will fare any better than the first version fared.
The demented character, who steals another woman's baby,
should be taken out.
(To be continued next week)
112
HARRISON'S REPORTS
July 15, 1939
statement setting forth all details," and that, since there
was "no occasion for further oral discussions" at that time,
the meetings had been suspended to enable a drafting com-
mittee to "reduce to writing all the matters discussed."
The two statements have created a controversy, Mr.
Rodgers contending that an understanding had been
reached, whereas Col. Cole that there had been no under-
standing. Mr. Rodgers carried the "feud" even as far as
Minneapolis, unnecessarily; the question was not under
controversy then.
Further, the statement, "the Code covers, not substan-
tially, but wholly, every single item discussed and agreed
upon with the Allied Committee," is likely to throw the
exhibitors on a false scent; many of them might think
that all subjects were discussed and agreed upon. Two
items that are of great importance to the exhibitors were
not agreed upon : one of them is block-booking, with its
twin brother, blind-selling, and the other, theatre divorce-
ment. The first, that is, block-booking, was discussed, but
the distributors would not yield to it, offering to the ex-
hibitors instead an enlarged cancellation privilege, which
can hardly be called a fair substitute (on the blind-selling
part no concession whatever was made) ; and on the
second, that is, theatre divorcement, the distributor com-
mittee refused even to hold a discussion.
(To be continued next week)
THE CODE'S OBJECTIONABLE PARTS
(Continued from last week)
Again copying from the Allied negotiating committee"s
report and commenting on it :
"3. Reports of steps being taken to circumvent the pro-
visions of the Code. While your Committee does not take
the position that in this matter the prospects for the future
must be judged solely by the experiences of the past, they
feel that as an introduction to what follows thev nnv
properly refer to matters that occurred under the N.R.A.
Code. During our negotiations the assertion was made by
a member of the Committee that in order to defeat the
cancellation privilege allowed by the N.R.A. Code the
distributors deliberately padded their blocks with low cost
'cheaters' in order that the exhibitors would exhaust their
cancellation privilege thereon. This was confirmed by one
of the distributor group. And certainly it is well known
that the practice of selling shorts on the weekly payment
plan was devised to defeat the N.R.A. provision against
forcing shorts except in proportion to the number of fea-
tures licensed.
"From reports received from credible exhibitor inform-
ants in various parts of the United States your Commit-
tee is convinced that the following practices are now being
employed by at least some of the major distributing com-
panies which are advocating approval of the proposals by
the exhibitors : —
"(a) Requiring exhibitors to negotiate for and license
short subjects before they will even discuss selling their
features.
"(b) Shorts are being forced.
"(c) Foreign pictures are being forced.
"(d) Despite poorer business conditions now prevailing,
price of flat rental pictures raised and number of per-
centage pictures increased to offset possible loss through
exercise by exhibitors of the cancellation privilege.
"(e) Special inducements offered in price and terms for
waiver of the cancellation privilege.
"(f) Waiving of guarantees and selling on straight per-
centage in order to secure preferred playing time.
"(g) Score charges being added to all flat rentals for
19.19-1940. In addition, distributors are increasing film
rentals to equal the amount of the score charge formerly
paid on percentage pictures.
"(h) National allocations discontinued, thus retarding
free use of cancellation and restricting same to the lowest
price bracket.
"Based on the statement made by a principal executive
of one of the major distributors at the open forum yester-
day, your Committee must conclude that the purpose of
the distributors is to exact increased rentals which will
compensate for any possible loss under the proposals. That
being so, the effect of the Code on the exhibitors will be to
compel them to pay more money than last year for fewer
pictures; or, stated differently, to require the exhibitors to
pay in full for all pictures cancelled under the privilege
granted."
There is not one exaggeration in these statements, for
even this paper has received from exhibitors information
to the effect that the salesmen were resorting to the abuses
enumerated in the committee's report. The matter was
thrashed out on the floor of the Minneapolis convention.
hi reference to the accusation contained in the first para-
graph, can Mr. Rodgers deny that many distributors vio-
lated the intent of the cancellation provision by means of
"cheaters" ?
In reference to the statement contained in the last para-
graph just quoted, the distributor representative referred
to is Mr. Gradweil Sears, president of Vitagraph and i:i
charge of sales of the First National-Warner Bros, prod-
uct. When Mr. Stcffes accused that in his very territory
exhibitors who paid the distributors during the current
season $3,000 were told that they would have to pay $3,00;),
so that, when they cancelled 20% of their pictures, they
would still pay the same price, Mr. Sears took the floor and
said that the cancellation right was given to the exhibitor,
as he understood it, for the purpose of giving him greater
selectivity ; he then continued :
Sears : "But the problem you present is one of cancella-
tion as to money on the contract. I've never understood it
that way. In other words, if a salesman got $3,000 last year
and he wants $3,600 or $4,000 this year, that, in the final
analysis, is money. What has that got to do with the
cancellation?"
Steffes : "Mr. Sears ! That's all right if he wants to ask
$3,600 for his film, but when he says to the theatre owner,
'you expect your 20% cancellation, don't your' . . . 'Yes,
I do !' 'Then we've got to charge you $3,600, so if you
cancel 20%, we still get $3,000 out of you.'-"
Sears: "That's right. What's wrong with that?"
Stlffes : "Well, Grad ! Let's quit kidding ourselves !
We don't need any cancellation if we want to pay for the
films that we're cancelling. Is there anything in the present
contract that prevents an exhibitor from paying for any
pictures and not playing them, if he buys them on a flat
rental ?"
Sears : "Well, there's nothing to prevent him, but ..."
Steffes : "Then why do we want to sit here and argue
about a cancellation privilege unless we want come credit
for those pictures we cancel? . . . let's forget the cancella-
tion and say there is none !"
Later Mr. Yamins interposed and among other state-
ments he made, he said to Mr. Stars the following: "If it
was your intent, as you conveyed it to us, why not give us
a one hundred percent cancellation clause? You do not lose
in any way, because you get your money."
Let it be said at this time that when the advance viola-
tions of the provisions of the code were brought to the
attention of Messrs. Rodgers and Stars, both promised to
discharge any guilty salesmen. These two, along with Abe
Montague, gave the exhibitors a similar assurance from
the floor of the convention. But what Sears said about
charging an exhibitor $3,600 when he previously paid only
$3,000 offset completely whatever effect these assurances
may have had on the exhibitors.
(To be continued next zveek)
FORECASTS
(Continued from last zveek)
First National-Warner Bros.
"THE ANGELS WASH THEIR FACES," a melo-
drama with the "Dead-End" kids, their number increased
with Frankie Thomas and Ann Sheridan. It deals with
the efforts of the "Dead-End" kids to prove innocent
Frankie Thomas, who had been framed by a gang of
racketeers : the head gangster, in order to collect insur-
ance, sets fire to a building and makes the police believe
that Frankie had committed the arson. The fact that
Frankie had served a term in the reformatory makes the
frame-up easy. But his friends eventually succeed in obtain-
ing proof of his innocence, and in bringing about the
arrest of the guilty persons.
Comment : There is fast action all the way through, and
some human interest ; also a chance for plentiful comedy,
to be provoked by the pranks and the dialect of the "Dead-
End" kids.
Forecast : The story should make a good program pic-
ture of this type, which should fare well at the box office.
(Continued on inside page)
Entered as second-class matter January 4, 1921, at the post office at New York, New York, under the act of Mareh 3, 1*79.
Harrison's Reports
Yearly Subscription Rates: 1270 SIXTH AVENUE Published Weekly by
United States $15.00 Rr^om 1 «1 9 Harrison's Reports, Imc,
U. S. Insular Possessions. 16.50 KCOm 13U Publisher
Canada 16.50 New York, N. Y. P. S. HARRISON, Editor
Mexico, Cuba, Spain 16.50 , .. r,. . _ . „
ri^if-.in is 7s A Motion Picture Reviewing Service
Australia New ' Zealand,' Devoted Chiefly to the Interests of the Exhrbltors Established July 1, 1919
India, Europe, Asia ... . 17.50
„ Its Editorial Policy: No Problem Too Big for Its Editorial Circle 7-4622
ioc a copy Columns, if It is to Benefit the Exhibitor.
A REVIEWING SERVICE FREE FROM THE INFLUENCE OF FILM ADVERTISING
Vol. XXI SATURDAY, JULY 22, 1939 No. 29
RODGERS'S ANSWER TO ALLIED
(Continued from last week)
This is a continuation of tiie Kodgers statement, publica-
tion of which, with appropriate comment, began last week:
"Frequent references are made in the report to the effect
that this or that clause appears for the first time in the
March 30th draft, but not one word is said about the fact
that Allied's General Counsel was invited on January 16th
to prepare a draft in language more suitable to Allied ; that
Allied's General Counsel submitted such a draft on Febru-
ary 7th; that Allied's General Counsel (after the Allied
Negotiating Committee ceased functioning), came to New-
York and conferred with distributors' attorneys regarding
the draft of Allied's General Counsel, and that the draft
of June 10th contains much of the language and suggestions
of Allied. Yet the statement is made that Allied had no
contact with distributors between the January 16th meeting
and the receipt of the March 33th draft."
Mr. Rodgers is correct in stating that there was contact
between Mr. Abram F. Myers, Allied's General Counsel,
and the distributors' lawyers after January 16 ; Mr. Myers
met these lawyers, conferred with them and, on. February 7,
submitted to the distributors an informal memorandum
making appropriate suggestions. Consequently, the Allied
negotiating committee's statement in its report that there
had been no contact between Allied and the distributors
after January 16 is incorrect. Had the report -stated that
there had been no official contact, the statement would have
been correct. But in essence it would have been just as mis-
leading, for what difference does it make 'whether the con-
tact was official or unofficial ? After all, Mr. Myers, in
conferring with these lawyers, represented, not himself, but
Allied.
It should be born in mind, however, that, since the re-
vised proposals of the January 16 draft represented the
maximum concessions the distributors were willing to make
to the exhibitors, Mr. Myers could not put into his memo-
randum all the reforms the exhibitors are seeking ; of
necessity, he had to confine himself only (a) to a revision
of the language, so that the intent of the proposals might be
expressed more clearly, and (b) to the principles of the
mechanics of abitration. which were still open to discussion.
In the matter of the salesmen's employing theatre-building
threats with the object of inducing exhibitors to sign unfair
contracts, he recommended that the original Allied provi-
sion be reinstated. The distributors did reinstate it, but they
added restrictions that the Allied negotiating committee
found objectionable. (This matter was treated in the issue
of July 8, at the foot of the first column on the first page.)
At this point, 1 wish to call your attention to the fact
that Mr. Rodgers is not specific enough ; he deals too much
with generalities. For instance, in the position of his state-
ment that was discussed in last week's issue, he says : " . . .
the code also contains many other provisions favorable to
exhibitors that were not even requested of the distributors,"
but he fails to state which are the provisions he refers to.
In the portion reproduced in this week's issue, he says :
"... the draft of June 10th contains much of the language
and suggestions of Allied," but again he fails to point out
what these suggestions are. Assuming that much of the
language of the Myers memorandum has been employed in
the final draft, of what benefit is it to the exhibitors if the
sp:rit of such language has been disregarded, or if its pur-
pose and intent have been nullified by the addition of some
limiting words or phrases. If Mr. Kodgers had been more
specific, one would be able to determine whether the reten-
tion of Myers' language means the retention also of his
language's intent and spirit.
The Rodgers report continues :
"Further, much comment has been made regarding the
PREAMBLE. The fact is that in the draft of the Allied
General Counsel of February 7th, 1939, there was a
PREAMBLE which provided that the distributors were
to sign the Code and thus become bound to observe the prin-
ciples, policies and practices there set forth, but did not
provide for the signing of such Code by exhibitors or ex-
hibitor groups, and their being bound too. We regarded this
suggestion as one-sided and unfair. In our draft of March
30th we submitted a PREAMBLE which provided that the
exhibitors and organized groups of exhibitors as well as the
distributors should sign the Code and be bound thereby."
When I discussed in the July 1 issue of Harrison's
Rkports the portion of the Allied negotiating committee's
report that dealt with the preamble, I did not have before
me a copy of Mr. Myers's recommendations, which were
mailed to the distributors, as said, on February 7. Since that
time, I have obtained a copy and, in looking it over, I find
that Mr. Rodgers is correct in stating that there was a
preamble ; it reads as follows :
"The signatories hereto, being distributors of motion
pictures, in order to promote a more harmonious relation-
ship and to improve competitive conditions in the motion
picture industry , and after consultation with representatives
of the sci'cral organized groups of motion picture exhibitors,
hereby severally bind themselves to the observance of the
principles, policies and practices set forth herein in the
licensing and distribution of motion pictures in continental
United States."
In their own preamble, the distributors employed almost
all the language of Mr. Myers, but deleted some of it (the
italicized part), and added other words; they made it read
as follows :
"The signatories hereto, being distributors, exhibitors
and organized groups of exhibitors of motion pictures,
hereby severally adopt the following as a code of fair trade
practice, hereby severally binding themselves to the observ-
ance of the principles, policies and practices set forth herein
in the licensing, distribution and exhibition of motion pic-
tures in continental United States." ( The italicized parts
are not contained in the Myers preamble.)
From this you see for yourself that the Allied commit-
tee's statement to the effect that the preamble was never
discussed is erroneous. What they, no doubt, wanted to say
is that the preamble, in the form in which it appeared in the
distributors' draft of March 30, had not been discussed. If
this was their intent, they should have said so clearly and
unequivocably. To have said what they did say, " 'Preamble,'
never discussed, appeared for the first time in March 30
draft," was inaccurate, and necessarily misleading.
What Mr. Myers seems to have sought to do by this
preamble was to bind the distributors to the Code w ithout
binding the exhibitors, at the same time making them admit,
by implication, that competitive conditions in the industry
are bad, and that it is in their power to correct them ; what
the distributors seem as having aimed to do was to bind also
the exhibitors, organizations as well as individuals, at the
same time making them acknowledge, explicitly, that the
Code represented all the fair trade practices in the industry,
and, by implication, that all exhibitor grievances have been
removed thereby. Allied naturally objected to having the
independent exhibitors sign a document headed by such a
preamble, for by such an act the exhibitors would put
themselves, as the Allied committee felt, at a greatly dis-
advantageous position if anything went wrong with the
Code and they sought relief through legislation.
A fair preamble for both sides would have been the fol-
lowing if a preamble the Code must have:
"The signatories hereto, being either distributors, or ex-
hibitors of motion pictures, hereby bind themselves to
(Continued on last page)
114
HARRISON'S REPORTS
July 22, 1939
"Stunt Pilot" with John Trent
and Marjorie Reynolds
(Monogram, July 1 ; time, 62 win.)
A pretty good program melodrama. The stunt flying has
been photographed well, providing excitement in several
situations. Although it is a little slow in getting started,
the action picks up speed in the second half, during which
there are several thrills. In spite of the fact that the iden-
tity of the murderer is known to the spectator, one's interest
in the outcome is not lessened. There is no romantic
interest : —
John Trent, who was acting as stunt pilot in a picture
being directed by Pat O'Malley, is so annoyed at O'Mal-
ley's callousness when he, Trent, meets with an accident,
that he gives up the job. George Meeker, a reckless pilot,
law s his place, "irent and Meeker quarrel when Meeker
takes Marjorie Reynolds up for a ride in a dilapidated
plane. When Trent learns that his pal (Milburn Stone)
had offered to pilot a plane for a dangerous dog fight
sequenoe in the picture in order to earn $5U(J for his sister's
operation, he knocks out Stone, taking his place. When
Trent opens fire, he realizes, to his horror, that his machine
gun had been filled with real bullets ; Meeker is killed.
Trent is suspected of having planned the murder. But, from
a chance conversation he had overheard, Trent realizes
that O'Malley was the murderer. He takes off in his plane
in an effort to overtake the train on which O'Malley was
returning to Hollywood. In the meantime, Stone discovers
that his nephew had innocently taken pictures of O'Malley
tampering with the gun. That is all the evidence needed to
convict O'Malley. After a terrific fight, Trent brings back
O'Malley, who confesses he had killed Meeker because he
had run off with his wife and then had deserted her. Trent
and Stone gladly accept jobs with the Border Patrol.
Scott Darling and Joseph West wrote the screen play,
George Waggner directed it, and Paul Malvern produced
it. In the cast are Jason Robards, Wesley Barry, Buddy
Cox, and others.
Not for children. Suitable for adults and adolescents.
Class B. Tempo fast.
"They All Come Out" with Rita Johnson
and Tom Neal
(MGM. July 14; tunc, 09 min.)
This is a gripping melodrama. Although it contains
propaganda about the system employed in the U. S. Federal
prisons for rehabilitating criminals, the facts have been
presented in so interesting a fashion that one's attention is
held throughout. The action is fast and exciting, particu-
larly so in the first half, during which the gangsters carry
out their criminal activities. In spite of the fact that both
the hero and the heroine are members of the gang, one
sympathizes with them when they reform and try to live as
decent citizens. The romance is minimized : —
Rita Johnson, member of a gang of bank robbers headed
by Bernard Nedell, becomes acquainted with Tom Neal, a
young man without a job or funds. When the chauffeur for
the gang is arrested, she recommends Neal to Nedell, for
she knew he was an excellent driver. Neal, disgusted be-
cause of his inability to make a living, eagerly accepts the
chance to make easy money. He and Miss Johnson become
fond of each other, but Nedell warns them that romance
does not mix with crime. After a series of bold bank rob-
beries, they are finally caught and sent to federal prison.
The humane treatment they receive gives them a different
outlook, that is, all except Ne4ell, who was a hardened
criminal. He looks forward to the time when he would b?
released, for Neal knew where Nedell had hidden $30,000,
which he could use to win Nedell's freedom. But Neal, who
had learned a trade and had been placed in a good position,
does not touch the money. Miss Johnson, too, is freed, and
goes to work in a beauty parlor. But Nedell, who had mis-
behaved, is transferred to Alcatraz. Before he goes, he
asks his cellmate, who would soon be released, to find
Neal. This cellmate first finds Miss Johnson and then
forces her to accompany him to Neal's business place. He
tries to force Neal to open the safe with an acetylene torch,
but Neal turns the flame on him and then calls for the
police. Miss Johnson, too, had called the police. Both Neal
and Miss Johnson are praised for their work, and look
forward to a happy life together.
John C. Higgins wrote the original screen play, Jacques
Tourneur directed it, and Jack Chertok produced it. In the
cast are Edward Gargan, John Gallaudet, Addison Rich-
ards, Prank M. Thomas, and others.
Not for children, but suitable for adolescents and adults.
Class B. Tempo fast.
"Waterfront" with Dennis Morgan
and Gloria Dickson
(Warner Bros., July 15; time, 59 min.)
This program melodrama, which is suitable mostly for
rough audiences, is somewhat unpleasant entertainment,
for most of the action revolves around the hero's efforts to
avenge his brother's death. His constant brooding and un-
controllable outbursts of temper wear on one's nerves ;
furthermore, the idea of a man's insisting on taking the
law into his own hands is demoralizing, particularly for
young folk. Dennis Morgan, as the hero, shows talents
worthy of better material ; he acts with ease and makes a
good appearance : —
Morgan, president of the waterfront club, is unable to
control his temper, thereby getting into fights on the least
provocation. During a quarrel with Ward Bond that ends
up in a fight, Morgan strikes a friend who was trying to
hold him back. The friend is knocked unconscious. Morgan
is arrested, but finally released when it is determined that
the friend's injuries were not serious. Morgan decides to
reform. He marries Gloria Dickson and prepares to leave
with her to work on a ranch. Bond tries to pick a fight
with him again, but Morgan repulses him. Bond throws a
bottle at him; it strikes Morgan's brother, thereby killing
him. Bond hides out in his sweetheart's apartment. Morgan,
despite his wife's pleas, is determined to find and kill Bond.
Miss Dickson, in an effort to save her husband, gives
money to Bond to leave the country. Morgan follows her
to the hideout. But before he could do anything, Bond
meets with an accidental death. Morgan and Miss Dickson
are reconciled and leave for the ranch.
K'enyon Nicholson wrote the story, and Lee Katz and
Arthur Ripley, the screen play ; Terry Morse directed it.
In the cast are Marie Wilson, Larry Williams, Sheila
Bromley, and others.
Not for children. Suitable for adolescents and adults.
Class B. Action fairly fast.
"Indianapolis Speedway" with Pat O'Brien,
John Payne and Ann Sheridan
( Warner Bros., August 5; time, 81 min. )
A remake of "The Crowd Roars," produced by Warners
in 1932. Aside from the thrills of automobile racing, with
its attendant crashes and deaths, it offers little that is out-
standing, i lie plot is stereotyped; it unfolds just as one
expects. One unpleasant feature is the fact that brother is
pitted against brother, resulting in several fist fights be-
tween them ; such action is not edifying for young folk.
Furthermore, no one does anything to win one's sympathy.
Men may enjoy the racing, but it is doubtful if women
will be interested in it, for it is wearing on the nerves ; —
Pat O'Brien, a famous automobile racer, refuses to
marry Gale Page, even though he loved her. He felt he had
to continue racing for some time in order to see his young
brother (John Payne) through college. When O'Brien
arrives home, he is shocked to find that Payne had left
college, in order to work on a new super-charger for
racing cars and that he had been practicing racing on the
side. They quarrel ; but O'Brien, realizing that he could
not swerve Payne from his determined course, takes him
in hand to train him. Payne meets and falls in love with
Ann Sheridan, as she does with him. But O'Brien, who
considered her a cheap, low person, forbids Payne to see
her. They quarrel and come to blows ; this results in the
parting of the ways for the brothers. O'Brien, feeling that
Miss Page was to blame, for she had known about the
friendship, breaks with her, too. Trying to get even with
Payne in an important race, O'Brien accidentally causes
the death of his mechanic (Frank McHugh). Broken by
the experience, he turns over all his money to McHugh's
wife, and then wanders about. In the meantime, Payne and
Miss Sheridan are married. They are overjoyed when
Payne receives an offer to race at the Indianapolis Speed-
way. O'Brien shows up on the day of the race. Through a
ruse on the part of a friend, he is brought together with
Miss Page, who urges him to race again, even though he
had lost his courage. Payne leads the race, until he meets
with an accident. O'Brien jumps in; together they win.
Reconciliations follow all around.
Howard Hawks wrote the story, and Sig Herzig and
Wally Klein, the screen play ; Lloyd Bacon directed it, and
Max Siegel produced it. In the cast are Regis Toomey,
Granville Bates, and others.
Although not edifying, it is morally suitable. Class A.
Tempo, fast ; racing, highly exciting.
July 22, 1939
HARRISON'S REPORTS
115
"They Shall Have Music" with Jascha
Heifetz, Andrea Leeds, Joel McCrea
and Gene Reynolds
(United Artists [1939-1940], August 18; time, 100 min.)
The name of Jascha Heifetz is world-famous, and there
is no doubt that lovers of good music will flock to the
theatres to hear and see this famous musician. Music
students, too, should be thrilled, for the close-ups give
them an opportunity to watch Mr. Heifetz' technique. His
talents are, needless to say, of the highest order ; while he
plays, the spectator is enraptured. But when the story is
compared with the music played by Mr. Heifetz, and
played and sung by the youngsters, who are surprisingly
good, it is disappointing ; it is not of more than program
magnitude. The plot is artificial, lacking adult appeal, and
the action is slow-moving, offering little in the way of
novel development. Some of the situations direct a deep
appeal to the emotions of sympathy. The picture has not
been produced lavishly ; most of the action unfolds in the
tenement districts. Joel McCrea and Andrea Leeds handle
the romance effectively : —
Gene Reynolds, a wild boy of the tenements, finds a
ticket for a Heifetz concert. Thinking that he would see a
show, he goes in ; the music has such an effect on him that
he is inspired to study. But his step-father (Arthur Hohl )
is so enraged when he hears him practicing on a violin
Reynolds' father had used, that he breaks it. Reynolds runs
away from home, earning a living by giving shoe shines.
He wanders into a tenement music school run by gentle
Walter Brennan and his daughter (Andrea Leeds). Bren-
nan, realizing that the boy had talents, takes him under his
wing. Reynolds overhears a conversation between Miss
Leeds and McCrea about the financial difficulties of the
school. He organizes a small orchestra to play in the
streets so as to make money for the school. While playing
in front of Carnegie Hall, they attract the attention of
Heifetz, who was just leaving the hall. He gives them a
donation and promises to attend the school's concert. Upon
this promise, the school is able to have its credit extended.
The most persistent creditor (Porter Hall) inquires of
Heifetz' manager whether he would attend; the manager
claims no knowledge of a promise. Reynolds' young friends
go to see Heifetz to plead with him to attend ; the manager
orders them to leave. One of the boys take with him
Heifetz' violin, worth $70,000, which he thought he would
give to Reynolds. Reynolds uses this as a means of getting
to see Heifetz ; but the manager again intervenes. On the
night of the concert, Hall orders the Sheriff to take away
all the instruments. The mothers of the neighborhood are
able to hold them off for a while, but eventually they have
to give way. Just then Heifetz arrives ; he orders Hall to
return the instruments, promising to pay all the bills. He
thrills every one by playing with the orchestra. Reynolds
is reunited with his parents, who are happy at the change
in him. Miss Leeds and McCrea, who loved each other, are
overjoyed at the turn of events.
Irmgard Von Cube and John Howard Lawson wrote the
screen play, Archie Mayo directed it, and Samuel Goldwyn
produced it, with Robert Riskin associate producer. In the
cast are Terry Kilburn, Walter Tetley, Chuck Stubbs,
Tommy Kelly, Jacqueline Nash, and the Peter Meremblum
California Junior Symphony Orchestra.
Suitability, Class A. Action a little slow at times.
"The Ware Case" with Clive Brook
(GB-20th C entury-Fox, July 21 ; tune, 71 min.)
This British-made drama is strictly adult fare, and, at
that, suitable mostly for class audiences. The British ac-
cents and overabundance of dialogue make it doubtful for
the American masses. The story is unpleasant, for it deals
with an irresponsible character (Clive Brook) ; one loses
patience with him, for he shows dishonorable traits, such
as purchasing things without being able to pay for them,
cashing checks when he had no bank accounts, and gambl-
ing without being able to afford it. Another cause for one's
impatience with him is the fact that he brings unhappiness
to his wife (Jane Baxter), who stands by him even though
she loved some one else (Barry K. Barnes), — a young
barrister who was a good friend to both. Because of Brook's
actions, his breakdown in the end and his eventual suicide
does not touch one very deeply, for one feels up to that
point that he was a worthless character. The point as to
whether or not he had actually killed his brother-in-law
(Peter Bull) so that his wife might inherit the family for-
tune and thus clear up his debts is not made clear. Up until
the end, even during his trial, he insists on his innocence
and one believes him. It is not clear, therefore, when he
later confesses his guilt, afterwards jumping to his death,
whether he actually was guilty or had purposely "con-
fessed" as a gesture of sacrifice on his part so that his wife
might have her freedom to marry the man she really loved.
George Pleydell Bancroft wrote the story, and Roland
Pertwee and Robert Stevenson, the screen play ; Michael
Balcon directed it, and Robert Stevenson produced it. In
the cast are C. V. France, Francis L. Sullivan, Frank
Cellier, Edward Rigby, and others.
Not for children or adolescents. Adult fare. Class B.
Tempo slow.
"Mutiny on the Black Hawk" with
Richard Arlen, Andy Devine
and Constance Moore
(Universal [1939-1940], September 1; time, 66 min.)
A good program action melodrama. Although the story
is somewhat far-fetched, it holds one's attention well be-
cause of the fast and exciting action ; it starts off as a sea
melodrama and finishes as a rousing Western. Comedy and
romance are worked into the plot without retarding the
action. The story takes place is the year 1840 : —
Richard Arlen, a U. S. Army Captain, is sent to the
Sandwich Islands to investigate rumors of slave trading.
Learning that many natives had disappeared just after a
ship, of which Noah Beery was captain, had docked, and
seeing Beery turn over a bag of gold to the island chief,
Arlen stows away on the ship. When he is found, he is put
to hard work. The crew is mistreated by the captain and
his assistant (Guinn Williams). Arlen finds the native
slaves in the hold. Arlen, assisted by Andy Devine, one of
the sailors, leads the crew to revolt ; he takes over the
boat. After much suffering because of lack of water, they
arrive at the California coast. Arlen goes to Fort Bailey
for help. The leader (Thurston Hall), influenced by his
young wife (Sandra Kane), a Mexican spy, refuses help;
but Hall's daughter (Constance Moore) induces him to
change his mind. When supplies run low, Arlen asks for
aid from the Mexican general but he is refused. He then
goes to an American camp, headed by a general he knew
well. He gets promises that supplies would be forthcoming.
But, in the meantime, the Mexicans had attacked Fort
Bailey. The settlers, slaves, and sailors hold off the enemy
until the Americans arrive. They rout the enemy. The
American flag is raised over California territory. Arlen
prepares to take the natives back to their island. Miss
Moore insists on going with him as his wife.
Ben Pivar wrote the story, and Michael L. Simmons,
the screen play ; Christy Cabanne directed it, and Ben
Pivar produced it. In the cast are Mala, Paul Fix, Richard
Lane, and others.
Suitability, Class A.
"Million Dollar Legs" with Betty Grable
(Paramount, July 14; time, 64 min.)
Light entertainment, suitable mostly for young folk. It is
another one of those college stories, in which sport and
comedy are stressed, and romance is minimized. Occasion-
ally it is amusing ; this effect is due to the sprightly per-
formance given by a newcomer (Peter Hayes), who shows
talents as a comedian. Otherwise, the story is routine,
lacking real excitement and human appeal : —
Thurston Hall, chief contributor to the college attended
by his son (John Hartley), sets down rules. One of the
rules was that basketball should be the leading sport, and
that his son should participate in it. Peter Hayes, an enter-
prising college student, who made his living by extracting
ten per cent from college concessionaires, is unhappy be-
cause his girl friend (Dorothea Kent) wanted him to get
his college letter. Since he was no athlete, he decides to
revive interest in crew work so that he could be the cox-
swain, which was an easy job. Larry Crabbe, the athletic
director, and Hartley, who wanted to prove to his class-
mates that he could get along without his father's help,
think Hayes' idea a good one. The boys are selected and
put to work. After manipulation, Hayes manages to get a
challenge from an important college. Hayes is not per-
mitted in the race because of his jxior scholastic rating;
but he coaches the boys from the sidelines, thereby helping
them to win. There is great rejoicing in the college: Hayes
receives his letter. Hall is proud of his son, as is Betty
Grable, Hartley's college sweetheart.
Lewis R. Foster wrote the story, and he and Richard
English, the screen play ; Nick Grinde directed it, and
William C. Thomas produced it. In the cast are Donald
O'Connor. Jackie Coogan, Joyce Mathews, and others.
Suitability, Class A. Tempo, fairly fast.
HARRISON'S REPORTS
July 22, 1939
observe the principles, policies and practices set forth in this
instrument in the licensing, distribution and exhibition of
motion pictures in continental United States."
A preamble such as this would not be unfair to either
g.onp. (To be continued next week)
FORECAST OF STORY MATERIAL FOR
THE 1939-40 SEASON
RKO
"ABIC LINCOLN IN ILLINOIS," the Robert Sher-
wood Puhtizer Prize play that opened October 15, last
year, and is still playing, with Raymond Massey in the
leading part — the same actor who is appearing In the play.
It is the story of Abraham Lincoln, dealing with his rise
from humble environment to the Presidency of the United
States.
Comment : The play has made a hit on Broadway, because
it is deeply human. The character of Mr. Lincoln is brought
oul vividly — his humaneness as a man and as President.
Forecast : John Cromwell, of "Ann Vickers," "Of Human
Bondage/' ' ±viade Lor Each Other," "The Silver Cord,"
and of other meritorious pictures fame, will direct it.
Consequently, one feels safe in predicting that, as far as
quality is concerned, it will turn out as powerful a drama
as is the stage play.
(To be continued next week)
THE CODE'S OBJECTIONABLE PARTS
{Concluded from last iceck's issue)
The Allied negotiating committee's report continues :
"4. Acceptance of the proposals icould jeopardise pros-
pects of exhibitors for additional relief. At the very first
interview which Messrs. Yamins and Myers had with Mr.
Rodgers on the subject of the negotiations, about the middle
of September, 1938, the question was posed, 'Will participa-
tion on our part mean that we will be precluded from seek-
ing passage of the Neely Bill?' They were told that the
negotiations would have no bearing on the Neely Bill or the
Government suit, except as the experience might bring
about better relations which would lead us voluntarily to
abandon such methods. This statement was later repeated in
substance by Mr. Rodgers in a telephone conversation with
Mr. Yamins.
"It was upon this assurance that Allied entered into the
negotiations.
"Since then the distributors have made every possible use
of the negotiations to defeat the Neely Bill, to influence the
attitude of the Department of Justice in pending litigations
and otherwise to handicap Allied in its efforts to secure real
and lasting benefits for the independent exhibitors.
"Because we regard this as the most important factor
entering into our decision that the proposals should be re-
jected, we feel that we should retrace our steps and give
an outline of the manner in which this program was
developed.
"At hearings on the Neely Bill in 1936 a suggestion was
made by spokesmen for the distributors that negotiations
be initiated to settle problems within the industry — obvi-
ously to prevent favorable action on the bill.
"The next serious proposal along this line came coinci-
dent with a visit of Big Eight executives to Washington to
head off the Government's suit.
"The first draft of the proposals (Dec. 1) was sent to
the Department of Justice with a statement that they had
been agreed to in principle notwithstanding the fact that
your Committee had stated — and they hereby reiterate that
statement — that no such agreement had been reached.
"The long silence after the January 16 meeting was sud-
denly broken when the distributors burned the midnight oil
— .o quote one of the trade papers — to get out the March 30
draft on the eve of the hearings on the Neely Bill.
"That draft was presented to the Senate Committee by
Mr. Rodgers as a reason why the bill should not be passed.
It is set forth in the minority report of the Senate Commit-
tee as a reason why the bill should not pass.
"According to press reports the draft has been carried by
the distributors to the Secretary of Commerce in an effort
to induce him to use his influence with the Department of
Justice to settle the Government suit on the basis of the
proposals. . . . (Paragraph deleted was reproduced in the
July 1 issue; it deals with the preamble.)
"Mr. Rodgers has made it plain that these proposals rep-
resent the maximum concessions that the distributors are
willing to yield. Therefore, no further progress can be made
along this line, if the exhibitors agree to the proposals they
will be greatly handicapped in, if not actually debarred
from, seeking further relief by other means. This demon-
strates the fallacy of the argument that this is a 'step in the
right direction.' it is not a step in any direction, it is the end
of the trail.
"NEGOTIATING COMMITTEE."
Undoubtedly there will be Allied members who, along
with exhibitors of other affiliations, will sign the Code, for
it offers certain advantages that they cannot obtain other-
wise. In this, they may be prompted by the fact that Allied,
as an organization, does not commit itself and remains free
to pursue its former policy of bending its efforts to obtain
greater relief by legislation. To these as well as to all other
independent exhibitors, HabkISON's REPORTS suggests that,
before signing the Code, they delete from the preamble the
wording, "hereby severally adopt the following code of fair
trade practice," and alter the word "binding" to read "bind."
Unless they make such an alteration, they will admit ipso
facto that all the industry's unfair practices thereby have-
been eliminated. The distributors should not object to such
an alteration, for the preamble, as altered by the deletion,
imposes no new conditions on them, and does not free the
exhibitors from any of the obligations under the Code.
AN IMPORTANT EVENT NEARLY
OVERLOOKED
I have been so busy the last few weeks on the Allied-
distributor controversy on the Code that I nearly over-
looked an important event: This month, Harrison's Re-
ports is twenty vcars old; the first issue bears the date of
July 5, 1919.
For a paper that, when its first issue appeared, was given
by some wiseacres three months to live, a life of twenty
years, when one bears in mind that the paper's livelihood
depends entirely on the subscription receipts, is, indeed,
long enough to make any publisher proud.
Why has it lived that long, and why will it live much
longer yet?
In March, 1920, the exhibitors of Kansas State, impressed
by the editorial policy of Harrison's Reports, invited me
to attend their convention, which they held at Wichita. Mr.
Miller was the president of the organization, and Stanley
Chambers the secretary.
During my talk, I stated that Harrison's Reports would
never accept film advertising so long as I owned it and.
although some of the exhibitors present doubted me, I have
kept my word to them. This is the ansvver.
It gives me indescribable pleasure, indeed, to be standing
b?forc you today, saying to you that, during these twenty
years, I have kept my end of the bargain with you. And I
am glad to say that you, too, have kept yours ; you have
continued renewing your subscriptions, making it possible
for me to carry on.
Harrison's Reports today enjoys the confidence, not
only of the exhibitors, but also of the distributors ; these
have at last come to realize that, although the paper's
editorial policy is at times harsh in dealing with producer-
distributors, it is at least not personal, and certainly not
vindictive.
It is true that it has made errors, but they have been
honest errors. Who is the publisher who can avoid such
errors? But the producer-distributors know that, when an
error of mine is called to my attention, I correct it without
any hesitation.
During these twenty years, I have seen much ; but what
stands in my mind most vividly is the fact that the number
of independent exhibitors is getting smaller all along. Every
year a number of them, unable to stand the pressure caused
by the many burdensome conditions that are continually
imposed on the exhibitors, drop out ; and most of those who
are remaining find it harder and harder to make a living,
the statement of the distributors to the contrary notwith-
standing. Many distributors call one's attention to the fact
that some exhibitors take trips to Florida, Hawaii, Europe
and to other parts of the world, but exhibitors of this kind
are far and few between ; most of the others stick to the
job closely in an effort to eke out an existence.
This industry could be made a paradise for all, but the
selfishness of a few, who want it all, is a great obstacle.
Perhaps not long after the beginning of the second
twerty-year cycle of life for Harrison's Reports a change
for the better will take place.
Entered a» second-class matter January 4, 1921, at the post office at New York, N*w York, under the act of March 3, 13T9.
Harrison's Reports
Yearly Subscription Rates: 1270 SIXTH AVENUE Published Woataijr by
United States $15.00 n 1 CI O Harri«on*i Reports, Inc.,
U. S. Insular Possessions. 1S.&0 KOOm lol^ Publisher
Canada 16-50 New York, N. Y. p. s. Harrison, Editor
Mexico, Cuba, Spain 16.50 _ .
Great Britain 15 75 A Motion Picture Reviewing- Service
Australia, New Zealand, Devoted Chiefly to the Interests of the Exhttxtors Established July 1, 1919
India, Europe, Asia .... 17.50
35c a Copy Its Editoria' Policy: No Problem Too Big for Its Editorial Circle 7-4.622
Columns, if It is to Benefit the Exhibitor.
A REVIEWING SERVICE FREE FROM THE INFLUENCE OF FILM ADVERTISING
Vol. XXI SATURDAY, JULY 29, 1939 No. 30
RODGERS'S ANSWER TO ALLIED
(Continued from last week)
Rodgers's statement continues :
"These misleading statements, together with many other
inaccuracies well known to all distributors present at Min-
neapolis, caused their spokesman, with their full approval,
to conclude his remarks at the final session of the Allied
meeting on June 15th with the statement :
" 'Under the circumstances, Gentlemen, you leave me no
alternative but to withdraw any proposals from the Allied
organization as a group and we will no longer negotiate
with the Allied organization.'
"It has been rather unique to be negotiating for a peace-
ful solution of trade problems with a body who sought
all concessions possible and at the same time declared their
intention, no matter what the outcome, to continue their
efforts, through legislation or litigation, to further curtail
the progress of those upon whom they are largely dependent
for their future business security and who have endeavored
sincerely to solidify an industry that all concerned may
benefit to the greatest extent."
Comment : In subdivision "4" of the Allied negotiating
committee's report, which was read on the convention floor
in Minneapolis, there was said:
"At the very first interview which Messrs. Yamins and
Myers had with Mr. Rodgers on the subject of the negotia-
tions, about the middle of September, 1938, the question
was p sed. 'Will participation on our part mean that we
will be precluded from seeking passage of the Neely Bill?'
Thev f\V -ins and Myers] were told that the negotiations
would ha\ no bearing on the Neely Bill or the Govern-
ment suit, except as the experience might bring about
better relations which would lead us voluntarily to abandon
such methods. This statement was repeated in substance by
Mr. Rodgers in a telephone conversation with Mr.
Yamins."
Since Mr. Rodgers did not deny this assertion, I assume
that it is correct in every respect. Such being the case, his
complaint is not justified, for he had already agreed to the
Ailied terms on that question; the stand the Allied leaders
have taken in this matter is unassailable. Mr. Rodgers must
remember that the Allied leaders, regardless of the con-
fidence they have in him as a fair-minded person, have not
fi rgctten what happened in the past when they negotiated
v in his group to establish fair-trade practices. For this
r asi n they wanted to be sure that, until such time as a fair
a: I equitable Code had been worked out and put into effect,
they retained their freedom of action.
The Rodgers's statement continues :
" The fart that Allied as such represents only a minority,
an'' a small one, of organized exhibitor groups, and much
smpller when the nation's theatres are considered, did not
in the slightest deter us from a supreme effort to meet the
problems as they were presented. ..."
Now, Bill, it wasn't nice of you to say that Allied repre-
sents a minority of the organized exhibitors ! Let us look at
the facts: You have been conferring with Harry Brandt,
as president of I.T.O.A. What Harry has is, not so much an
independent exhibitor protective association, hut a booking
corporation, for the services of which he charges the ex-
hibitors who belong to it a booking fee. He represents these
exhibitors, however, only in the booking of pictures.
1 might add that many exhibitors in this territory feel
that the independent exhibitors need a Code more against
booking corporations of the kind Harry Brandt conducts
than producer-distributor injustices. So long as Harry
can get film for his 42nd Street houses, he will shout
against any and all other exhibitor organizations. But
Harry's success in hooking films for his houses is a great
detriment to the other Metropolitan area exhibitors; these
cannot charge for admission 30c or 35c, because Harry
charges 10c for the "early bird" matinees, 15c from one to
five o'clock, and 20c and 25c the rest of the time, for double
bills. And 42nd Street is the Hub of the city ; every subway
converges there, and there is hardly an out-of-town visitor
but passes from that part of the city one or more times.
Let us now take up Ed Kuykendall, president of Motion
Picture Theatre Owners of America, known better as
M.P.T.O.A., with whom, too, you have been holding con-
ferences. Is Ed the head of a majority organization? Let
us see !
In the statement you made to the Senate Committee dur-
ing the hearings on the Neely Bill in Washington, you
stated that the number of theatres that are controlled by
producer-distributors is anywhere between 2,300 and 2,400,
your own opinion being that it is nearer the 2,400 mark.
When you were making this statement, did you count these
theatres in the Kuykendall organization to prove that Allied
is a minority organization? If you did, your comparison is
most unfair. If you did not, then your figures are all wrong.
To the Senate Subcommittee, you said partly as follows :
"There will be heard during the course of these hearings
the president of another group of theatres, called the
Motion Picture Theatre Owners of America, which repre-
sents considerably more theatres than those represented by
the Allied States." But you did not make it clear to the
Committee at that time that 2,400 belonging to the Kuyken-
dall organization represent your side, and not the inde-
pendent exhibitor side.
In the same paragraph, you said also the following :
"Generally speaking, from my contact with them
[M.P.T.O.A.] — they have not yet expressed themselves —
they are in favor of this [the Code] and directly opposed in
toto to the Neely Bill. I have had, in addition, the assur-
ances of Mr. Kuykendall that the majority of his group
favor this plan."
Since Ed Kuykendall has been telling the world that his
motive for being opposed to the Neely Bill is because it is
"Government Regulation," let me tell you how much he
believes in what he preaches : During his speech at the
Minneapolis convention, in one breath, he stated, at your
own hearing, that he opposed the Neely Bill because he did
not want the motion picture industry to be regulated by
the Government, and in another, he advocated Government
regulation: he wanted the motion picture industry to join
hands with the radio and the restaurant people to induce
the United States Government to regulate the American
Society of Composers, Authors and Publishers. Evidently
Dave Palfreyman, of the Hays office, did not go over Ed's
speech to prevent him from making himself ridiculous by
such an inconsistency. If he did go over the speech, he
must have missed the point. He should be more careful in
the future.
Bill ! Let me give you a piece of correct information :
Kuvkendall's organization has few independent exhibitors
as members. And those that it has, pay no dues. It is easy
for you to verify this information. If your group should
stop the subsidy in the form of dues from your theatres,
M.P.T.O.A. will vanish like a mist. Your group is main-
taining M.P.T.O.A. only for one purpose — to have its
president (who is paid, as I understand, $200 a week and
his travelling expenses), appear before legislative bodies
as well as before civic bodies to thwart the efforts of the
independent exhibitor leaders to obtain legislative or other
relief for their members. The present M.P.T.O.A. president
is not even an exhibitor now. You were told in the very
beginning, before the negotiations had started, that any
attempt of your group to bring Kuykendall into these
negotiations would create a painful impression among the
independent exhibitors, in that it would be interpreted to
mean that the distributors are as little sincere now as they
(Continued on last Page)
118
HARRISON'S REPORTS
July 29, 1939
"Andy Hardy Gets Spring Fever" with
Mickey Rooney and Lewis Stone
{MGM, July 21 ; time, 85 mm.)
This is the most delightful picture in the "Hardy Family"
series. It goes in less lor clowning and more for genuine
human appeal; the characters, particularly Mickey
Rooney, as "Andy," are handled in a more sympathetic
manner, resulting not only in good comedy but also in deep
emotional appeal. Rooney 's lirst adult love affair is the
main topic ; this has been handled so well that at no time
does it seem silly. Instead, it has a certain charm, mostly
because of the excellent performances by Rooney and by a
promising newcomer (.Helen Gilbert), the object of his
affection. Lewis Stone becomes involved innocently with
two crooks, which holds one in suspense until he extricates
himself from the mess : —
Discouraged when his girl friend (Ann Rutherford), re-
ceives attentions from a young naval officer, Rooney be-
comes dejected, that is, until he meets and becomes en-
amoured of his new dramatic teacher (Miss Gilbert), a
young girl of charm and beauty ; she inspires him to write
a play, in which he would star. Stone speaks to Miss Gil-
bert, suggesting that she use tact in putting Rooney in his
place ; she readily agrees to do so, for she was lond of
Rooney. The night before the play, Rooney proposes to
Miss Gilbert. Instead of laughing at him, she promises to
speak to him on the subject the following evening, atter the
play ; he is elated, and even tells his father that he expected
to be married soon. Towards the end of the play he sees
Miss Gilbert backstage with a young man who was em-
bracing her. She explains to him later that the man was
her fiance. He feels as if the world had come to an end ;
but when he wanders over to a party given by Miss Ruther-
ford, who kisses him when he arrives, he forgets all his
cares. Stone is happy because Mickey had been cured ; also
because the bad land deal he had entered into had turned
out profitable.
Kay Van Riper wrote the screen play, and W. S. Van
Dyke II directed it. In the cast are Cecilia Parker, Sara
Haden, John T. Murray, Terry Kilburn, George Breakston,
and others.
Suitability, Class A. Tempo not very fast, but the action
is amusing.
"Blondie Takes a Vacation" with Penny
Singleton and Arthur Lake
(Columbia, July 20; time, 685/2 min.)
Pretty good program entertainment for the family trade.
The story, as in the two previous "Blondie" pictures, is
lightweight ; but the characterizations are so amusing that
one follows the action with interest. The highlight of the
picture this time is "Baby Dumpling," played by little
Larry Simms ; he speaks his lines well and acts compe-
tently. There is no doubt that the women in the audience
will chuckle each time he appears : —
The family, consisting of father (Arthur Lake), mother
(Penny Singleton), and baby (Larry Simms), in addition
to Daisy the dog, start off on a vacation. On the train they
annoy one of the passengers (Donald MacBride ) ; it de-
velops that MacBride is the manager of the hotel to where
they were going. When he sees them, he refuses to give
them accommodations. Tired and hungry, they finally find
another hotel across the lake. It is then that their troubles
start, for they take an interest in the kindly old couple who
were running the place, which was run down. Miss Single-
ton and Lake start working ; first, they pay old bills, and
then they start looking for customers. But it is Baby Simms
who helps them ; he accidentally chases a family of skunks
into the air-conditioning system in MacBride's hotel. This
forces the customers to leave ; they all go to the hotel
across the lake. But MacBride, who held a mortgage on the
other hotel, threatens to take it over. When his hotel burns
down due to an accident on his part, he tries to put the
blame on Lake ; but again Baby Simms saves the day by
accusing MacBride, whom he had seen setting the place on
fire, of doing so. MacBride is arrested. Everything looks
good for the old couple when Lake and his family bid them
a fond farewell.
Karen DcWolf, Robert Chapin and Richard Flournoy
wrote the story, and Richard Flournoy, the screen play ;
Frank R. Strayer directed it, and Robert Sparks produced
it. In the cast are Donald Meek, Danny Mummert, Robert
Wilcox, Helen Briggs, and others.
Suitability, Class A. Tempo, fairly fast.
"Winter Carnival" with Ann Sheridan
and Richard Carlson
(United Artists [1939-40], July 28; time, 90 mm.)
Just a program picture. The action, which is developed
along familiar lines, is slow-moving and, for the most part,
tiresome; even the dialogue is trite. Furthermore, the
players, aside from Ann Sheridan, lack box-ofiice names
of value, it may appeal to young college folk because of the
Dartmouth College background, with its winter carnival
scenes ; but even this part of the picture is a disappoint-
ment, for it lacks excitement, the scenes of the different
sports having been put together in a rather slipshod way.
The romance is pleasant : —
Ann Sheridan, wealthy and spoiled, whose marriage
to a Duke had ended in a divorce, travels with her
young sister (Helen Parrish), towards Dartmouth Col-
lege, where Miss Parrish had been invited to attend
the winter carnival; Miss Sheridan planned to leave
from there for Montreal to catch a boat for Europe.
Miss Parrish tries to induce her sister to stay over for the
festivities, where a few years previous she had been Queen
of the Winter Carnival, but she refuses ; when she learns
that her former sweetheart ( Richard Carlson ) , now a col-
lege professor, was to be there, she decides, since she had
four hours between trains, to see him. The old Maine flares
up again ; but what had happened before happens again —
they part because Carlson had refused to live on her
money. Before leaving, Miss Sheridan saves her sister from
making the same mistake she had made by throwing her-
self at a title. This makes Carlson realize how much he
loved her ; he convinces her that she should give up her
glamorous life and settle down. She consents ; but when
her former husband arrives with newspaper men, intent
on making trouble, she fears that Carlson would become
involved and his career ruined, and so she prepares to
leave. But Carlson follows her ; he suggests that they go to
New York, marry, have a good time, and then return to
Dartmouth, to settle down. She agrees, happy in the thought
that once she would become a college professor's wife she
would no longer be news.
Budd Schulberg and Maurice Rapf wrote the story, and
they and Lester Cole, the screen play ; Charles Riesner di-
rected it and Walter Wanger produced it. In the cast are
Robert Armstrong, Virginia Gilmore, Marsha Hunt, James
Corner, Robert Allen, and others.
Suitability, Class A. Tempo, slow.
"The Spellbinder" with Lee Tracy
and Barbara Read
(RKO, July 28 ; time, 69 min.)
Just another program picture. The story is not particu-
larly edifying, tor it deals with a lawyer who resorts to
trickery in order to win cases. As a matter of fact, nothing
pleasant happens throughout the whole picture ; that is,
nothing that touches one's emotions or awakens one's sym-
pathies for the characters. The action is developed in an
artificial manner ; it is not helped much by the perform-
ances, which arc unconvincing : —
Lee Tracy, a successful trial lawyer, who resorted to
dishonesty in order to win his cases, is shocked when a
client (Patric Knowles), informs him that he intended
killing a man who was trying to blackmail him ; the man
knew that Knowles had stolen money from his stock-
holders. Tracy warns him against such a step. But
Knowles threatens to implicate him in case he should refuse
to represent him. Tracy prepares to leave for Europe with
his daughter (Barbara Read), so as to keep out of trouble.
But before he could do so, Knowles kills the man. Tracy,
in order to keep from his daughter the truth about his
practice, naturally has to defend Knowles. He wins his
freedom. But Knowles, wishing to keep his secret safe with
Tracy, secretly marries his daughter. Tracy follows them
to the hotel to which they had gone. He kills Knowles and
then gives himself up. At his trial, he takes up his own
defense, which necessitates confessing all. He is convicted ;
but he is not unhappy, for her knew that now his daugther
was safe.
Joseph Anthony wrote the story, and Thomas Lennon
and Joseph A. Fields, the screen play ; Jack Hively directed
it, and Cliff Reid produced it. In the cast are Allan Lane,
Linda Hayes, Morgan Conway, and others.
Not for children. Suitable for adolescents and adults.
Class B. Tempo, only fairly fast.
July 29, 1939
HARRISON'S REPORTS
119
"I Stole a Million" with George Raft
and Claire Trevor
(Universal, July 21 ; time, 77 min.)
This melodrama is too depressing for an average audi-
ence. The fast action as a result of the criminal activities
may appeal to men of the rougher type, but most persons
will find the hero's participation in crime most discourag-
ing, since he drifts into that life, first, because of circum-
stances and, secondly, because of financial needs. The fact
that one sympathizes with him, knowing that eventually
he would pay for his deeds, is even a greater reason for
one's becoming depressed ; moreover, there is a feeling of
hopelessness throughout that weighs one down. The hero-
ine's devotion to the hero is the picture's most appealing
part : —
After working hard as a taxicab driver in order to own
a cab of his own, George Raft finds that, in addition to
payments of $325 he had made, that he could not get the
cab until he paid more money for what the dealer claimed
was insurance. Angry at being cheated, he knocks the man
out and takes his money. He is arrested, but manages to
escape, with the handcuffs still on one wrist. A hobo directs
him to some one he knew who could take the cuffs off. But
the man (Victor Jory), insists that, if he wanted the hand-
cuffs taken off, he would have to participate in a bank
robbery with him. Raft agrees, not knowing that he was to
be made the "goat." He realizes it in time, however, and
manages to escape. Reaching the hideout, he threatens to
kill Jory unless his share was paid him. Jory promises to
send it to him. Raft, in need of money, enters a florist shop
with the purpose of robbing the cash register, but changes
his mind when he meets the clerk ( Claire Trevor ) ; he
falls in love with her at first sight. With money that he
wins in a dice game, Raft buys a garage and marries Miss
Trevor; they are very happy for a year. But the police
trail him, forcing him to hide ; his garage assistant threat-
ens to expose him unless he would turn the garage over to
him. In need of money for his wife, who was going to have
a baby, he forces Jory to give him $2,000 ; but Jory gets it
back by knocking him out. Desperate, Raft turns to crime
in order to provide enough money for his wife and child.
A conniving lawyer does him out of his ill-gotten earnings.
Miss Trevor pleads with him to give himself up; he is
about to do so but changes his mind, and starts running.
The police shoot him down ; he dies. Miss Trevor is com-
forted by Dick Foran, a young lawyer friend, who had
always loved her.
Lester Cole wrote the story, and Nathanel West, the
screen pla? ; Frank Tuttle directed it, and Burt Kelly pro-
duced it. In the cast are Henry Armetta, Joe Sawyer,
Robert Elliot, Stanley Ridges, and others.
Not for children or adolescents. Adult fare. Class B.
Tempo fast.
"Parents on Trial" with Jean Parker
and Johnny Downs
(Columbia, Jane 29 ; time, 57 min.)
Mediocre program fare. It is a somewhat feeble attempt
to sermonize on the subject of unsympathetic parents, who,
because of their attitude, bring misery to their children. Not
only is the story trite, but the production values are poor.
One feels some sympathy for the heroine because of the
suffering she goes through due to her father's sternness ;
but that is not enough to keep one interested, since the
action is slow and, for the most part, dull :—
Jean Parker, a young college girl, whose mother had
died, receives no understanding from her father (Henry
Kolker). Although she obeys him, he constantly accuses
her of trying to do things behind his back. While out driv-
ing with a friend (Linda Terry), her car collides with a
car driven by Johnny Downs, who was accompanied by a
friend (Noah Beery. Jr.). Downs, a garage mechanic,
offers to fix Miss Parker's car. Miss Parker and Downs
are attracted to each other, as are Miss Terry and Beery.
They make an appointment to meet again. But Kolker finds
out about it and forbids her from seeing Downs any more.
But she disobeys him. She and Downs decide to get mar-
ried. Kolker is furious; he keeps Miss Parker a virtual
prisoner while he has the marriage annulled. He brings
charges against Downs, who is sentenced to a short term
in the workhouse. Downs escapes and reaches Miss
Parker, who runs away with him in her father's car. They
arc caught and brought back. After a stern talk by the
Judge, Kolker finally relents, permitting the young couple
their freedom. Every one is happy.
J. Robert Bren and Gladys Atwater wrote the story, and
they and Lambert Hillyer, the screen play; Sam Nelson
directed it, and Ralph Conn produced it. In the cast arc
Virginia Brissac, Nana Bryant, and others.
Morally suitable. Class A. Tempo slow.
"The Cowboy Quarterback" with
Bert Wheeler and Marie Wilson
(First National, July 29 ; time, 56 min.)
Ordinary program fare. It was produced in 1933 under
the title of "Elmer the Great," with Joe E. Brown as star;
the game played by the hero in that picture was baseball
whereas here it is football. This picture suffers considera-
bly by comparison with the former. Bert Wheeler lack*
the comic abilities of Joe E. Brown, the production values
are poor, and the leading players are weak box-office
attractions. The action, for the most part, is slow-moving,
except for the closing situation in which the hero, in the
last minute to play, wins the game : —
Wheeler, a small-town clerk in a grocery store owned by
Marie Wilson, is noted for his prowess as a football player.
He consents to play with a major league on one condition —
that Miss Wilson, with whom he was in love, accompany
him. Under her guidance, Wheeler wins all the games in
which he appears. But Miss Wilson make a nuisance of her-
self and so William Demarest, the team's publicity agent,
induces W heeler to send her back home. He then urges his
girl friend (Gloria Dickson) to keep Wheeler from getting
lonesome. Wheeler, believing himself to be in love with
Miss Dickson, is miserable when he learns that she was
going to marry Demarest. In company with a friend, he
gets drunk at a gambling establishment run by a racketeer
who was betting against Wheeler's team. The racketeer
tricks Wheeler into gambling and losing $5,000 ; a fight
ensues, after which Wheeler is sent to jail. Miss Wilson,
learning of his trouble, rushes to his side; she pays off
the racketeer. But Wheeler does not want her to waste her
money, and so he agrees to throw the game for $5,000.
When the manager hears about it he refuses to let Wheeler
play, until Wheeler convinces him that he had bet all his
money on his own team, and that he intended to double-
cross the gamblers. He plays and wins the game. He and
Miss Wilson decide to marry.
The plot was adapted from a play by Ring Lardner and
George M. Cohan ; Fred Niblo, Jr., wrote the screen play,
and Noel Smith directed it. In the cast are Eddie Foy, Jr.,
DeWolf Hopper, Charles Wilson, and others.
Suitability, Class A.
"Should Husbands Work?" with
James and Lucile Gleason
(Republic, July 26; time, 66 min.)
This comedy continues the Higgins Family series, offer-
ing adequate program entertainment. The action is fast ;
and, since most of it revolves around the predicaments the
different members of the family get into, it hold one's atten-
tion pretty well. Several situations are quite comical, pro-
voking hearty laughter. And this time there is a romance
involving the elder son (Russell Gleason) and a young
waitress (Marie Wilson) : —
When Gleason learns that his employer (Henry Kolker),
was planning to sell his cosmetics business to Berton
Churchill, he confides to his wife (Lucile Gleason), that
Kolker's business was in poor shape. Knowing that the
merger would mean the loss of her husband's position, Mrs.
Gleason passes this news on to Churchill's wife, hoping
that she in turn would tell her husband and so the merger
would fall through. Things turn out as she had hoped ; but
her joy turns to despair when she learns that she had
ruined her husband's chances of a good job, for Churchill
had planned to make Gleason general manager of the com-
bined firms. Kolker is furious and discharges Gleason.
Russell Gleason, who owned ten shares of stock in Kolker's
concern which he had hoped would net him a large sum of
money so that he could get married to Miss Wilson, is dis-
appointed. To add to his family's troubles, he brings his
fiancee to board with them. After many mishaps, Gleason
gets the job he wanted when the two concerns finally
merge ; they needed the ten shares of stock held by Russell,
and, in order to get them, they had to take Gleason on as
general manager.
Jack Townley and Taylor Caven wrote the original
screen play, Gus Meins directed it, and Sol S. Siegel pro-
duced it. In the cast are Harry Davenport, Mary Hart,
Tommy Ryan, Arthur Hoyt, and others.
Suitability, Class A. Action fairly fast.
ORDER YOUR MISSING COPIES
Once in a while your copy of HakuisoiN's Rkpokts is lost
in the mails. Look into your files to find out what copies are
missing so that you may order duplicate copies. These will
be supplied to you free of charge. A substantial stock of
copies of all issues is kept on file for just such a purpose.
YoU don't know when you may need the copy that is just
missing. So why not take care to complete your iile now?
120
HARRISON'S REPORTS
July 29, 1939
were in the past, when they made efforts to get together
with independent exhibitors. But he was brought in, despite
that warning. Your committee didn't have to confer witli
him ; all you had to do was to decide what part you wanted
him to play, and he would have obeyed your orders. Could
he have done otherwise?
Whether you believe it or not. Bill, Allied represents a
majority of the organized exhibitors. The fact that it does
not represent the majority of all the exhibitors means
nothing, for if we were to put together all the organized
theatres, of whatever affiliation, they would not constitute
a majority. But on national issues, the majority of even
these unorganized exhibitors stand by Allied.
Correct your figures on this subject; they are wrong 1
(To be continued next zueek)
NEELY BILL PASSES THE SENATE
You are all familiar, I am sure, with the fact that the
Neely Bill has passed the Senate by a vote of 46 to 28, and
has been referred to the House.
It is doubtful if any action will be taken by the Lower
House at this session : Congress is in haste to adjourn and
it will take up only matters of the greatest importance to
the nation. But this fact does not kill the Bill, as was the
case last year ; since the same Congress will convene next
year, the Bill will be taken up at the next session.
There is no doubt that the action of the House at its next
session will be favorable. If there were any doubt, the fact
that elections are coming removes all doubts — the members
of the House of Representatives would naturally want to
make sure of their reelection, and they would not want to
antagonize the powerful civic, fraternal and religious
organizations that are backing the Bill.
It seems as if a flicker of light is perceived in the distance.
Write a letter to Hon. M. M. Neely, in care of the U. S.
Senate, and thank him for the success of his fight in your
behalf.
STORY FORECASTS FOR THE 1939-40
SEASON
RKO (Radio Pictures)
(Continued from last zveck)
In last week's issue a forecast of the play "Abe Lincoln
in Illinois," was given.
"AFRICAN INTRIGUE," the novel by Alfred Batson,
an adventure melodrama dealing with the efforts of a
secret German expedition to determine the value of the land
in the French Sudan in 1911, when France and Germany
faced war. France had offered that land to Germany as a
peace offering, and Germany wanted to know what it was
worth. The militaristic manner of the head of the expedi-
tion brings much trouble to it when the French become
aware of its presence. The expedition at last returns to
Germany and makes its report.
Comment : This story material is not worth much for a
picture. The only worth-while feature is the thrills that
may be caused when the lives of the members of the expedi-
tion are placed in danger from the natives, as well as the
French military. There is no romance, unless the producers
intend to work in one.
Forecast : If it should be produced as a program picture,
the story is not worth the effort ; if it should be produced as
a big picture, the cost will be altogether out of proportion
to the story's worth.
"ALLEGHENY FRONTIER," to be based on the
Neil H. Swenson novel, "The First Rebel," with John
Wayne, Claire Trevor, Sir Cedric Hardwicke and others,
a melodrama unfolding during the period of the American
Revolution, dealing with the escape of the hero from the
hands of the Indians, who had held him prisoner ; he goes
to the British at Quebec, then returns to Conoccheague,
becoming the leader of the settlers against a corrupt British
Captain who, in defiance of the law, had been selling rum
and ammunition to the Indians. The hero, after capturing
the fort, is framed : accused of murder, he is court-
martialled ; but the Governor, who had learned the facts,
intervenes and frees him. The hero, accompanied by the
girl he loved, starts on a new adventure.
Comment: Melodramas of this kind are, as a rule, thrill-
ing, for there are fights all the way through. This time it is
no exception. The action is fast, and the hero's heroics are
such as to win him the spectator's sympathy.
Forecast : The picture should turn out a good or very
good melodrama, but because the cast announced is not of
first rank its box office possibilities should be fairly good
to good.
"THE AMERICAN WAY," the play by George Kauf-
man and Moss Hart, dealing with a German boy who settles
in a small Ohio town in 18%. From then on until his death
in 1938, he lives a full life, with its joys and its sorrows,
but during all this time he had never lost faith in America
and its institutions, doing his own bit in maintaining its
freedom.
Comment : There is considerable human interest in the
play. One feels kindly toward the hero, who retains his
faith in the American institutions despite some of their
shortcomings.
Forecast : If the producers should not resort to too much
preachment, there is no reason why it should not turn out
a good picture ; but since no lead players have been an-
nounced it is difficult to evaluate its box-office possibilities.
"ANNE OF WINDY POPLARS," the novel by L. M.
Montgomery, author of "Anne of Green Gables," to be pro-
duced by Cliff Reid, with Anne Shirley.
Comment : It is a Pollyanna story, with country-town
atmosphere. There is naturally human interest in it.
Forecast : It should make a good program picture, with
box-ofiice results depending in each locality on the popu-
larity of Miss Shirley, who is sweet and charming, and a
capable little actress.
"CROSS COUNTRY ROMANCE," the Eleanor
Browne novel, with Lucille Ball and James Ellison, a
romance, dealing with Dianne, a young heiress who, on
her wedding day, runs away and hides in a trailer owned
by Larry Smith, a young doctor headed for San Francisco.
When Larry discovers her she does not tell him who she
is, and condemns all rich girls when they read in the papers
about her disappearance. She makes herself useful and, by
the time they reach San Francisco, they are in love and
marry. It is then that Larry discovers who she is — the
hospital in which he was to work was supported by her
money. At first Larry dislikes the idea of having been
"taken in," but soon he becomes convinced that Dianne
married him, not because she wanted to get cheap publicity,
but because she loved him.
Comment : The story material is of the type of "It Hap-
pened One Night." There is a chance for plentiful mild
comedy, and for fairly deep human appeal.
Forecast: If produced well, it should turn out a fairly
good picture, with fair box-office results.
"THE DEERSLAYER," the James Fennimore Cooper
story, to be produced by Gene Towne and Graham Baker.
It is a story that unfolds during the time when this coun-
try was a British Colony, and the French and the British
were at war, each side employing Indians to help it. Deer-
slayer, the hero, in company with a young Indian and an-
other white, go to rescue the young Indian's sweetheart,
who had been kidnapped by a renegade Indian. They finally
succeed, but not until after they had gone through some
harrowing experiences, the British Redcoats rescuing them
all in the end.
Comment : There is fast action all the way through, and
thrills almost every little while. The greatest aggregation
of thrills, however, are toward the end, where the Indians
are seen chasing the hero to capture him so as to scalp him,
another group of Indians setting fire to the white char-
acters' home, which had been built in the middle of Glim-
merglass Lake (Lake Oswego, at Cooperstown, N. Y.),
and at the same time Redcoats, on horseback, rushing to
the rescue of the whites, who by this time had been cap-
tured by the Indians. There is also a charming romance.
The book has had a great circulation ; it is consid-
ered such a classic in the United States that many
schools have it in their curriculum. The action of the book
has been altered here and there, but not enough to make
those who have read the book notice it. For instance, the
motivation in the book for Hutter's seeking to scalp In-
dians is given as mercenarism ; the motivation in the new
treatment is a father's desire to avenge the death of his son,
who had been scalped by the Indians. This alteration is not
far afield, for the book mentions that the Indians had
scalped Hutter's young son. Such a motive is worthy,
whereas scalping Indians for profit would not pass muster
nowadays. Such is the case with the other alterations.
Whatever alterations have been made have not altered the
flavor of the book.
Forecast : There is no question that the story, handled by
a competent director, will turn out either very good or ex-
cellent. As to its box office possibilities, the chances are
that, if the picture were exploited properly also by the ex-
hibitors themselves, it will do equally well at the box office.
Entered as second-class matter January 4, 1921, at the post office at New York, New York, under the act ef March 3, 1J79.
Harrison's Reports
Yearly Subscription Rates: 1270 SIXTH AVENUE Published Weakly by
United States ., $15.00 R^^IOI-J Harrison's Report*. Inc..
U. S. Insular Possessions. 16.50 IVOOm lOlA Publisher
Canada 16.50 New York, N. Y. P. S. HARRISON, Editor
Mexico, Cuba, Spain 16.50 , , _. . _ _
Great Britain 15.75 A Motion Picture Reviewing Service ....... .
Australia, New Zealand, Devoted Chiefly to the Interests of the Exhibitors Established Jury 1, 1S19
India, Europe, Asia .... 17.50
,5p p Its Editorial Policy: No Problem Too Big for Its Editorial Circle 7-4682
•>s>c a uopy Columns, if It is to Benefit the Exhibitor.
A REVIEWING SERVICE FREE FROM THE INFLUENCE OF FILM ADVERTISING
Vol. XXI SATURDAY, AUGUST 5, 1939 No. 3)
RODGERS'S ANSWER TO ALLIED
(Continued from last week's issue)
The Rodgers's statement continues :
". . . We believed that we had succeeded at Chicago in
November last ; every item brought up was fully discussed
and disposed of and it was understood there, and at that
time, that a basis for a Trade Practice Code was established.
All that remained was to reduce it to writing and to sug-
gest a method for arbitration.
"At that time we invited the Allied General Counsel to
confer with our group in New York so that Allied would
feel they had a definite part in the preparation of the docu-
ment. We invited counsel of other exhibitor groups to con-
fer with us and some of them did confer with us. But Allied
expressed a preference that we prepare a document and
submit it to them.
"We did prepare several drafts in which the language
had been changed, but never the intent."
Comment : Bill Rodgers says that in Chicago there was
full agreement on all questions discussed, and that all the
distributors had to do was to put that agreement into writ-
ing. On the other hand, the Allied negotiating Committee
denies, as it has been already stated in these columns, that
there was any such agreement, attempting to substantiate its
position by pointing out to the fact that, in the Allied or-
ganization, only the board of directors can close an agree-
ment on its behalf. And the negotiating committee could
not submit the distributor proposals to this board until the
producers put them into writing.
Since I was not present at the negotiations, naturally I
cannot say whether or not the points that were discussed
were in the nature of an agreement, or even an understand-
ing. Consequently, the controversy has to be resolved only
by assuming what would be logical in such circumstances.
Guided in our deductions by logic, we cannot help coming
to the conclusion that the Allied committee is in the right,
for it is hard to believe that a group of hard-headed business
men such as are those who composed the Allied committee
would, when their limited authority is taken into considera-
tion, have agreed to any distributor proposals until these
were put into writing, particularly since no concrete pro-
posals about an arbitration system had yet been submitted ;
and Allied, to my own knowledge, was so bent upon obtain-
ing a fair arbitration system that it would not have accepted
a trade-practice code, even if its provisions were the finest
the exhibitors could have obtained from the distributors,
until the question of arbitration had been settled satisfac-
torily to Allied.
Personally, I am inclined to believe that the misunder-
standing between the two committees was unintentional ;
in all probability the distributor committee members had
felt so sure that Allied would approve the proposals
that they made the wish father to the thought.
The statement continues :
"Assurances have been given before, and are again re-
peated, that any unauthorized actions inconsistent with the
proposed Code will be corrected.
"With the contemplated change in the machinery for the
settling of clearance disputes it is sincerely believed that
we have a document (June 1 0th draft) that will enable all
interested parties to conduct their business relationship
more harmoniously and thereby benefit the industry at
large.
"We are not alone in this belief, as already the majority
of organized theatre owners, independent as well as affili-
ated, have indicates their desire to operate under such a
Code and are anxious that its application be put into effect
at the earliest moment possible.
"Every exhibitor in the United States, independent, affili-
ated, whether a member of an organization or not, is ex-
tended a cordial invitation to accept the Code. We hope that
all will participate, irrespective of their affiliations.
"W. F. Rodgers
"FOR THE COMMITTEE."
Comment : It seems to me as if the tone of the statement
is an accusation that Allied ran out on the Code. In his
Minneapolis speech, Bill Rodgers, if my memory serves me
right, made an unfortunate reference to "paid agitators,"
meaning, naturally, that, if it were not for these agitators
among the Allied leaders, the Code would be accepted by
the members.
Since Mr. Abram F. Myers, Allied general counsel, is
the only one who is paid for his services, we are compelled
to assume that it is he whom Bill Rodgers had in mind. The
fact that Sidney R. Kent, president of Twentieth Century-
Fox, upon his return to the States from his recent South
American trip, singled out Mr. Myers for criticism is
further proof that this deduction is correct. In commenting
upon the rejection of the Code, Mr. Kent is quoted by the
trade papers as having said partly the following :
"I would rather take my chances with Thurman Arnold,
[Assistant Attorney General, prosecuting the Government
suit against the distributors] than with Abram Myers, be-
cause Arnold has a job to do according to the law and he
is doing it. But you can't tell what is in Myers' mind;
I don't think it is peace."
Let us see whether Mr. Myers is blocking a distributor-
exhibitor agreement — whether he does or does not want
peace in the industry. But before going into the subject,
let me say that Mr. Kent, in stating that he would rather
deal with Mr. Arnold than with Myers, was probably no
more serious than was Al Steffes when he, speaking on the
convention floor, suggested that a committee consisting of
distributors and exhibitors be put aboard a ship and sent
out, and if after a reasonable length of time the committee
did not agree upon a fair code the plug be pulled off and
the boat allowed to sink, carrying with it all those on board.
If Mr. Kent was serious, why did the distributors run to
Harry Hopkins, Secretary of Commerce ? Was it to bring
them together with Thurman Arnold?
Let us now discuss Mr. Myers' attitude toward the pro-
ducers' efforts at industry peace :
In the fall of 1929, the major distributors invited, through
the Hays Association, Allied to meet with them for the
purpose of formulating a code of fair-trade practices. At
that time, president of Allied States Association was Mr.
Myers. Myers appointed Steffes, Cole, Richey, Yamins and
Hone as the Allied committee, with Glenn Cross as an al-
ternate.
The Allied committee met with two other committees,
one representing the distributors and the other M.P.T.O.A.
The deliberations were carried on under the chairmanship
of Mr. Kent, and the conference became known as the
5-5-5 conference, because the number of delegates repre-
senting each group was five.
Allied submitted to the conference a memorandum con-
taining suggestions for a fair arbitration system, a simpli-
fied and shorter contract, protecting the exhibitor on un-
delivered pictures, playing pictures in order of their first
run, an agreement on what days percentage pictures should
be played, and for other pertinent matters ; also for a fair
zoning arrangement, limiting producer theatre expansion,
and a national appeals board.
1 remember well that Mr. Myers sat with the Allied com-
mittee and took part in every discussion, urging the dis-
tributors continually to grant to the exhibitors the most
(Continued on last page)
122
HARRISON'S REPORTS
August 5, 1939
"Way Down South" with Bobby Breen
and Allan Mowbray
(RKO, July 21 ; time, 62 mm.)
A pleasant program entertainment. The story is thin, hut
that is incidental, since the picture's most important part is
the music, particularly as sung by the Hall Johnson negro
choir ; they excel in the rendition of negro spirituals. Bobby
Breen sings a few numbers effectively and acts competently.
His part this time is not too important, other players being
prominently cast. There are a few situations that touch
one's emotions and others that provoke laughter : —
When Ralph Morgan, owner of a cotton plantation, is
killed in an accident, his slaves mourn him, for he had
always been to them a good master. His son (Bobby
Breen) is the sole heir. Edwin Maxwell, a lawyer, takes
over active management of the plantation. He mistreats the
slaves and plans to sell them in order to get enough cash
with which to satisfy the demands of his fiancee (Steffi
Duna). Bobby is heart-broken, knowing that there was no
need to bring such unhappiness to the slaves. He enlists the
aid of Allan Mowbray, a cafe proprietor, who takes him
to see the town judge (Robert Greig). After hearing the
facts, Greig decides to make a trip to the plantation himself.
He arrives in time to stop the sale of the slaves and to
order Maxwell's arrest for pilfering estate funds. Mowbray
suggests that he would make a good executor, which meets
with Bobby's approval. The slaves are overjoyed, and go
back to work.
Clarence Muse and Langston Hughes wrote the story
and screen play ; Bernard Vorhaus directed it, and Sol
Lesser produced it. In the cast are Clarence Muse, Sally
Blane, and others.
Suitability, Class A. Tempo not very fast.
"Each Dawn I Die" with James Cagney,
George Raft and Jane Bryan
(First National, August 19; time, 91 min.)
A powerful prison melodrama. In spite of the fact that
the story is heavy and, in some respects, even harrowing
because of the cruelties practiced by the prison guards on
the prisoners, it holds one's attention throughout. More-
over, it has deep human appeal, since one knows that the
hero, a prisoner, was innocent, having been framed by
crooked politicians. There are several situations that tear
at the heartstrings. The situation in which the hero's
mother visits him at the prison and tries to control her
emotions is a memorable one ; so touching is it that one
cannot hold back tears. The closing scenes, showing a
prison break, are thrilling ; as a matter of fact, thrills occur
throughout. The romance is touching : —
James Cagney, a newspaper reporter, uncovers a story
involving high political officials. For refusing to forget
what he had seen, the officials frame him on a drunken
driving charge for a wreck in which two persons had been
killed. Cagney is tried, convicted, and sentenced to prison.
His sweetheart (Jane Bryan) and his newspaper associates
promise to work day and night to obtain the evidence with
which to free him. Cagney becomes friendly with George
Raft, one of the prisoners, a notorious criminal. Discour-
aged at the inability of his friends to do anything for him,
and knowing that he would not be paroled since the head of
the parole board was one of the crooked politicians who had
framed him, Cagney enters into a scheme with Raft where-
by Raft could escape ; Raft promises to get the necessary
evidence to clear him. The plot works ; but Raft, who had
been annoyed because Cagney had tipped off his newspaper
friends about the escape, does not do anything to help
Cagney. In the meantime, Cagney, who had lost hope,
becomes an unruly prisoner, suffering severe punishment
therefor ; also because he had refused to tell what he knew
about Raft's escape. Miss Bryan finds Raft and shames him
into working on Cagney's behalf. Raft returns to the prison
just in time for a prison break. During the excitement, he
forces one of the prisoners, who had been in on Cagney's
frameup, to tell the Warden (George Bancroft) what he
knew. Raft then dies from gun wounds. Cagney is cleared
and freed.
Jerome Odium wrote the story, and Norman R. Raine
and Warren Duff, the screen play ; William Keighley di-
rected it, and David Lewis produced it. In the cast are
Victor Jory, Maxie Rosenbloom, Stanley Ridges, Alan
Baxter, and others.
Not for children or adolescents. Adult fare. Class B.
"Unexpected Father" with Baby Sandy,
Mischa Auer, Shirley Ross and
Dennis O'Keefe
( Universal, July 14 ; time, 77 min.)
A pleasant program picture. The story is a little silly and
the laughs somewhat forced, but the performances are so
engaging that one is amused fairly well. Women may enjoy
it more than men because of Baby Sandy, who wins one
over by her smiles and her baby tricks ; she gurgles, tries
to talk, and now walks. Aside from this, the story is rou-
tine, and the romance stereotyped. There are the usual
misunderstandings and a final reconciliation. Mischa Auer
manages to come through with a pleasant performance,
provoking laughter on many occasions : —
Dennis O'Keefe, chief usher at a theatre, is informed that
his former vaudeville partner and her husband had been
killed in an accident, and had leit a baby boy. Accompanied
by his fiancee ( Shirley Ross), a chorus girl at the theatre, he
goes to see the baby. He decides to take the baby to his only
relative, an uncle (Paul Guilfoyle). Miss Ross offers to
do so. But when she finds out that the uncle was a drunkard
and lived in squalid surroundings with his wife (Mayo
.Methot), she refuses to give the baby up. Instead, she and
O'Keefe take care of him. They take him to the theatre ; one-
day, he crawls out to the stage in the midst of a number ;
this delights the audience. The newspapers print an account
of it. Guilfoyle, thinking that he could make money with
the baby, tries to take him away from O'Keefe. But the
slate authorities step in and hold the baby until they could
investigate the case thoroughly. Miss Ross, having quar-
reled with O'Keefe, decides to marry Donald Briggs, the
theatre manager, so as to make an application for the
adoption of th • baby. But in the meantime the court gives
the baby to O'Keefe. He rushes after Miss Ross to stop the
marriage, arriving just in time to do so. They are finally
united.
Leonard Spigelgass and Charles Grayson wrote the
screen play, Charles Lamont directed it, and Ken Gold-
smith produced it. In the cast are Joy Hodges, Anne
Nagie, Dorothy Arnold, and others.
Suitability, Class A. Tempo, fairly fast.
"Dead Men Tell No Tales" with
Emlyn Williams
(Alliance Films Corp.; time, 69 min.)
A fair program horror melodrama ; it was produced in
England. It should hold the attention of those who go in
for this type of entertainment, for, in addition to the horror
angle, it has a mystifying plot, the murderer's identity not
being revealed until the end. But it has several faults. For
one thing, the story is extremely far-fetched ; for another,
the editing is so bad that the action is extremely choppy in
spots. Even though American audiences have become ac-
customed to English accents, they may find them pretty
pronounced in this picture : —
A middle-aged teacher in a preparatory school, situated
in the outskirts of London, wins a lottery and leaves for
France to collect her winnings. She stops off in London for
a conference with a money-lender, who had sent her a
letter suggesting that he could invest her money wisely.
The money-lender meets her and lures her to his apartment,
and there he kills her ; he then compels his secretary to
don the murdered woman's clothes and to impersonate her,
so as to collect the lottery money. The scheme works. Later
the money-lender kills at the school another teacher, who
had accidentally found out about the impersonation. Later
he kills his secretary's fiance, who knew about the two
murders. Eventually Sara Seegar, a teacher at the school,
discovers that the money-lender and her cousin (Emlyn
Williams), the head schoolmaster, were one and the same
person. She telephones the news to her fiance (Hugh
Williams), a Scotland Yard inspector, who hastens there.
In the meantime, Williams forces Miss Seegar to accom-
pany him back to the school, his intention being to kill her.
The inspector arrives in time to prevent the crime. The
murderer, knowing that he was trapped, kills himself.
The plot was adapted from the novel by Francis Beed-
ing ; Walter Summers and Stafford Dickins wrote the
screen play, and David MacDonald directed it. In the cast
are Marius Goring, Lesley Brook, Christine Silver, and
others.
Unsuitable for children or adolescents. Adult fare. Class
B. Although the action is not fast it holds one's attention.
August 5, 1939
HARRISON'S REPORTS
123
"Hidden Power" with Jack Holt
and Gertrude Michael
(Columbia, August 3; time, 59 min.)
Mild program fare. The picture will prove disappointing
to the Jack Holt fans, for it is completely lacking in action;
moreover, the story is trite, and the production values poor.
Watching the indifferent performances, one gets the feeling
that the players, disgusted with the material, did not make
an effort to act convincingly. All in all, it is pretty dull
entertainment : —
When Jack Holt, a doctor-chemist, refuses to sell to a
chemical concern a high explosive he had discovered, his
wife (Gertrude Michael) is so disgusted that she leaves
him, taking their son (Dickie Moore) with her. Holt
works on an anti-toxemia formula to he used in cases of
severe burns ; but the first test fails. Feeling that the test
had not been done properly, since the patient had had a
very bad heart condition, Holt does not lose faith in his
work. Dickie, unhappy at being separated from his father,
runs away from his uncle's home, where he had been living
with his mother, and goes to his father. Miss Michael goes
after him in her car, insisting that he return with her. She
meets with an accident in which she is killed and Dickie
suffers severe burns. Holt, despite the risk involved, uses
his formula on Dickie; it works and the boy recovers. This
brings fame to Holt. Father and son are joyfully reunited.
Gordon Rigby wrote the original screen play, Lewis D.
Collins directed it, and Larry Darmour produced it. In the
cast are Win. B. Davidson, Henry Kolker, Regis Toomey,
George Meeker, and others.
Suitability, Class A. Tempo, slow.
"A Woman Is the Judge" with Frieda
Inescort, Otto Kruger and Arline Judge
(Columbia, July 10; time, 62 min.)
A fair program drama. Although the story is far-fetched,
it has human interest, with an appeal mostly to women. The
story itself is somewhat sordid, for it deals with attempted
blackmail and murder. But the redeeming feature is the
mother love angle, which necessitates sacrifice on the
mother's part. Although the character portrayed by Arline
Judge is not pleasant, one respects her courage in refusing
to implicate her mother : —
Frieda Inescort, a woman judge, loves Otto Kruger,
public prosecutor, but refuses to marry him. The reason for
this was that she devoted and was devoting her time to
finding her long-lost daughter, whom her brutal husband,
who had since died, had taken away from her when a child.
Miss Judge, who worked for a racketeer (Arthur Loft),
knows that Miss Inescort is her mother, but she does not
go to her for fear of besmirching her name. Her father, who
had been a criminal, had brought her up amongst racket-
eers, and that was the only trade she knew. Loft is indicted
in a criminal action, and his case is set before Miss Ines-
cort. Knowing of the relationship, he asks Miss Judge to
go to her mother to intervene for him. But she refuses. In
a quarrel that follows she accidentally shoots and kills him.
She refuses to talk, preferring to take her medicine, what-
ever it would be. But Mayo Methot, her roommate and
partner in racketeering, learns the truth and goes to Miss
Inescort; she reveals everything to her. Miss Inescort
resigns as judge in order to defend her daughter. In ad-
dressing the jury, she puts the blame upon herself, pleading
for the girl's acquittal. The jury find Miss Judge "not
guilty" ; mother and daughter are happily united. Miss
Inescort agrees finally to marry Kruger.
Karl Brown wrote the original screen play, Nick Grinde
directed it; in the cast are Gordon Oliver, Walter Fenncr,
and others.
Not for children. Fare for adolescents and adults. Class
B. Tempo, a little slow.
"This Man Is News" with Barry K. Barnes
and Valerie Hobson
(Pinebrook Ltd.-Paramount, Aug. 18; time, 74 min.)
This British-made picture is a fast-moving, at times
exciting, newspaper-gangster melodrama, with pretty good
comedy situations. Although the story has mass appeal, its
box-office possibilities for American audiences are doubt-
ful, because the players are not well known and the accents
are at times a bit "thick." There is no doubt, however, that
if people should go to sec it they will be entertained ; the
mystifying mood of the plot and the constant danger to
which the hero is subjected keep one in suspense through-
out. Two scenes that should be eliminated are those that
show the villain playing with white mice, for they disgust
one. Incidentally, there are in the dialogue three lines that
are extremely suggestive : —
Barry K. Barnes, a newspaper reporter, follows a hunch
in a case in which one of the witnesses had turned state's
evidence ; he felt certain that the gangsters would kill this
witness. The editor (Alastair Sim), angry at Barnes for
wasting his time on the case, discharges him. Barnes' wife
(Valerie Hobson) suggests that, in order to raise their
spirits, they should stay at home and drink the three bottles
of champagne that had been given to them as a gift. Under
the influence of the drink, Barnes decides to play a trick on
Sim. He telephones and informs him that the witness had
been murdered and that he had been an eye-witness to the
murder. Sim is so excited, that he hangs up the receiver
before Barnes had a chance to tell him he was joking.
Barnes is horrified when he reads the paper the next morn-
ing to find out that Sim had printed the story ; but what
surprises him more is the fact that the witness had actually
been murdered. Barnes' life becomes hectic after that; on
one hand, he is pestered and accused by the police of know-
ing more than he was telling; on the other, the gangsters,
fearing that he knew too much, try to kill him. Working
with the police, Barnes finally traps the gang, proving that
a reporter who worked on his paper was one of the gang,
and that he had been supplying information to them.
Barnes and his wife are happy when the case is finally
settled. He gets his position back and with it an increase.
Roger MacDougall and Allan MacKinnon wrote the
story, and Roger MacDougall and Basil Dearden, the
screen play ; David MacDonald directed it, and Anthony
Havelock-Allan produced it. In the cast are John Warwick.
Philip Leaver, James Birrie, and others.
Unsuitable for children and adolescents. Adult fare.
Class B.
"Frontier Marshal" with Randolph Scott,
Cesar Romero, Binnie Barnes
and Nancy Kelly
(20th Century-Fox, July 28; time, 71 min.)
A good western. The story is not unusual ; nevertheless
it has pretty good mass appeal, because of the fast and ex-
citing action, which includes gun as well as fist fights, and
thrilling encounters between bad men and the law en-
forcers. The town of Tombstone (Ariz.) serves as the back-
ground. The story, which is presumably based on real
characters and events, relates how a daring deputy sheriff,
with the aid of a friend, rid the town of the gangster influ-
ence. The romantic interest, which is most likely fictional,
is fairly appealing : —
Randolph Scott arrives at Tombstone just at a time when
a drunken member of an outlaw band was terrorizing the
citizens. He wins everyone's admiration by his courage in
capturing the outlaw. He decides to accept the Sheriff's
invitation to stay in Tombstone as a deputy Sheriff. Cesar
Romero, a doctor, feared throughout the land because of
his quickness with the trigger, admires the courage of
Scott, whom he had upbraided for insulting his girl friend
(Binnie Barnes), a music hall entertainer, and they be-
come friends. Romero is upset when Nancy Kelly, the girl
to whom he had once been engaged, arrives in town ; he
orders her to leave, for he felt she was too good for him,
particularly since he was a sick man. But Scott, knowing
that Romero needed Miss Kelly, induces her to stay. This
infuriates both Romero and Miss Barnes. The latter, hav-
ing overheard the sheriff's plans for shipping gold by the
stage coach, informs the leading bad man about it, hoping
that Scott would be killed during the holdup. But Scott,
together with Romero, who happened to be on the same
coach, overpowers the outlaws and returns with the gold.
Just when Romero had decided to change his ways and to
accept Miss Kelly's devotion, the outlaws kill him. Scott
rocs after them and captures them. Miss Barnes, heart-
broken at Romero's death, shoots the bandit leader. Miss
Kelly decides to remain at Tombstone, feeling that she
would be happier by living in the town where Romero had
lived.
Stuart N. Lake wrote the story, and Sam Hellmnn, the
screen play ; Allan Dwan directed it, and Sol M. Wurtzel
produced it. In the cast arc John Carradine, Edward Nor-
ris, Eddie Foy, Jr., Ward Bond, Joe Sawyer, and others.
Not for children. Suitable for adolescents and adults.
Class B.
124
HARRISON'S REPORTS
August 5, 1939
important relief recommendations contained in the Allied
memorandum.
On July 3, 1930, or approximately seven months after
the conference started, the conferees reached an agreement,
and although most of the Allied recommendations, particu-
larly the recommendation for limiting theatre expansion,
had not been accepted, the Allied committee felt that enough
had heen granted to the exhihitors to make a good start.
An improved form of standard contract and an arbitration
system had been obtained; also a vague outline of a na-
tional appeals board, which Mr. Myers felt that it at least
laid the foundation for a better future board.
Then and there Mr. Myers anounced that he would un-
dertake to persuade every Allied unit to ratify the agree-
ment, by a personal visit to the different zones if it became
necessary.
Allied waited in vain for a ratification by the producers;
it heard nothing of the agreement.
By fall, it became evident that the major companies did
not intend to put the agreement through.
(To be concluded next week)
STORY FORECASTS FOR THE 1939-40
SEASON
RKO (Radio Pictures)
(Continued from last week)
"DISTANT FIELDS," the play by S. K. Lauren, with
Barbara Read and John Archer, a domestic triangle drama,
dialing with a married doctor who, after achieving finan-
cial success with the help of his wife, encounters his former
sweetheart ; she wanted their old romance renewed. At
the crucial moment, the sweetheart's husband appears and
threatens to tell his, the doctor's, wife so as to destroy his
happiness. But the doctor's wife, suspecting the truth, does
not lose her courage. She is rewarded by finding out that
her husband's love was the kind that endured.
Comment : There is much unpleasantness in this story,
which, as the synopsis indicates, deals with marital troubles.
It is not pleasurable to see in picture entertainment a threat
to a happy home. From what one is able to gleam from the
synopsis, the hero is shown as a somewhat weak character,
for although he has a good wife he allows himself to fall
in the net of his former sweetheart.
Forecast : The story may make a pretty strong drama,
but it will not be so pleasant, unless, of course, situations
as well as characterizations are altered ; and the leads indi-
cate that it is to be of the program class.
"FATHER DAMIEN," to be founded on "Damien the
Leper," the biography of Father Damien by John Farrow.
The book was first published in 1937, and is now in its
eleventh edition. It has been translated into many languages.
The biography relates to the doings of Father Damien. a
Catholic Priest. Most of these doings take place in Hawaii,
where he went. In time, he goes to the leper colony of
Molckai Island, bringing much relief to the unfortunate
lepers. Eventually he himself is stricken by the disease, and
dies of it.
Comment : This is hardy material for a moving picture
intended to entertain people, despite the interestingly mar-
velous work Father Damien is shown as having done, and
of his great sacrifice. RKO, however, intends to suppress
the scenes about the lepers, showing only his other works.
Forecast : If the scenes showing lepers and the effects of
the disease on human beings are left out, the picture should
turn out either good or very good in quality, but in view of
the fact that there is no romance, its box office possibilities
are problematical. Perhaps a player such as Spencer Tracy
in the role of Father Damien may help it draw.
"THE ENCHANTED COTTAGE," the play by Sir
Arthur Wing Pinero, with Ginger Rogers. It is a romance,
dealing with a young Englishman who, having returned
from the war v/recked in body as well as soul, refrains
from going home because he did not want his family to
take care of him out of pity. He asks a young but ugly-
looking girl to marry him. Soon a wonderful thing happens :
they imagine themselves extremely beautiful. But when
others fail to perceive their good looks they realize that
they looked beautiful to each other only because they were
in love. The girl is about to become a mother. She goes to
sleep and dreams that a ghostly cherub, who had danced
with them in her dream the night before, pops out of a
chest and nestles in her arms.
Comment : The play was put into pictures once before,
in 1924, by First National. Richard Rarthelmess and May
McAvoy took the parts of the boy and of the girl. Although
the picture turned out excellent, it proved suitable only tor
cultured patrons. The producers tried to adhere to the play
too faithfully. As a result, they made the two characters
somewhat repulsive.
Forecast : Pandro Berman, the producer who will put it
into pictures this time, should learn from that experience
and avoid adhering to the play too closely. He should not
make the boy and the girl too ugly. He should also produce
it as a modern, and not as a costume, picture. If he should
make this change, he should produce an excellent picture
with it, for the material is very fine. And it should perform
at the box office cither very well or excellently.
"THE FLYING DEUCES," with Stan Laurel and
Oliver Hardy, an original story by Ralph Spence and Al-
fred Schiller. The story opens at the close of the American
Legion convention in Paris, France, showing the two
comedians in uniform and cleaning up the Legionnaires and
a French Lieutenant at a dice game. Feeling that they had
a streak of luck, they go to Monte Carlo, where they lose
everything. A beautiful young French girl entices them
into signing a paper, supposedly a check, but really an en-
listment in the Foreign Legion. In Africa they are assigned
to the aviation corps, and have many thrilling experiences.
Comment : This is very good comedy material for these
two comedians. The scenes that show them finding them-
selves in a plane in the air without an ability to fly, should
make people, not only laugh, but gasp for breath. Although
this is old stuff, it never fails to be effective.
Forecast : The picture should turn out either good or
very good, with box office results depending in each lo-
cality on the popularity of Laurel and Hardy.
"FULL CONFESSION," to be based on an original
story of Leo Birinski, to star Victor McLaglen — a murder
melodrama in which the murderer, conscience-stricken,
makes a last minute confession, saving an innocent man
from going to the chair. The character that brings this
about is a Catholic priest, who, unable to tell the authori-
ties what he knew, because the canons of the church forbid
a priest from revealing what a person had confessed to him,
veritably "hounds" the hero.
Comment : It is manifest that the producer who has un-
dertaken to produce this story hopes that he has another
"Informer" in his lap, but it is doubtful whether he will
obtain such results, tor. to begin with, the hero in the "In-
former" did not commit either robbery or direct murder,
as he commits in this story. In this instance, the hero, hav-
ing been caught by a policeman in the act of robbing a
store of a valuable fur, which he intended to present to the
girl he loved, shoots and kills the policeman. Another un-
pardonable sin he commits is his striking the priest, send-
ing him against sharp iron spikes, and wounding him
dangerously. It is hard for followers of the Catholic faith
to forgive an act of this kind.
Forecast : There is no doubt that the picture will turn
out to be powerful, because there is action all the time,
and one's interest is gripped. But whether it will prove an
acceptable entertainment will depend entirely on the altera-
tions, in situations as well as characterizations, that the
producer will make. In the New York Sunday Times, of
July 23, Douglas Churchill, its Hollywood correspondent,
stated that alterations will be made. A priest has also been
engaged to advise in the technical end of it so as, not only
to make the picture free of technical errors, but also to
avoid offending Catholics. As the story now stands, it is a
very unpleasant entertainment.
"THE HUNCHBACK OF NOTRE DAME," the fa-
mous classical novel by Victor Hugo, with Charles
I^iughton and Sir Cedric Hardwicke in the leading parts,
to be directed by William Dieterle, director of "Juarez,"
"Blockade," "The Life of Emil Zola," and of other such
pictures.
Comment : This novel was put into pictures once before
— in 1923, by Universal. It is so big a subject that it is
"rcpcatable," particularly since sixteen years have elapsed
from the time it was first produced. The late Lon Chaney,
win) took the part of the hunchback in the Universal ver-
sion, was very popular ; but so is Charles Laughton, who
will take the same part in the RKO version. There is fast
action in the entire story, and there is a charming romance.
Forecast : RKO intends to produce this subject on a large
scale. Consequently, it should turn out a big-scale picture,
not only from the quality, but also the box-office, point of
view.
(To be continued next week)
IN TWO SECTIONS— SECTION ONE
Entered as seoond-class matter January 4, 1921, at the post office at New York, New York, under the act of March J, 1879.
Harrison's Reports
Yearly Subscription Rates: 1270 SIXTH AVENUE Published WaeJdy by
United States $15.00 R™„, 1 «1 •> Harrison's Reports, Inc.,
U. S. Insular Possessions. 16.50 K.OOIT1 lOlZi Publisher
Canada 16.50 New York, N. Y. P. S. HARRISON, Editor
Mexico, Cuba, Spain 16.50 . ,, .. . _ . . _
Great Britain 15.75 Motlon Plcture Reviewing Service - .
Australia, New Zealand, Devoted Chiefly to the Interests of the Exhibitors Established July 1, 1S19
India, Europe, Asia .... 17.50
q r-nr,^ Its Editorial Policy: No Problem Too Big for Its Editorial Circle 7-4612
•sac a ^opy Columns, if It is to Benefit the Exhibitor.
A REVIEWING SERVICE FREE FROM THE INFLUENCE OF FILM ADVERTISING
Vol. XXI SATURDAY, AUGUST 12, 1939 No. 32
RODGERS'S ANSWER TO ALLIED
(Concluded from last week's issue)
The question discussed in last week's editorial of this
series was whether Abram F. Myers, Allied general coun-
sel, is or is not in favor of an understanding between inde-
pendent exhibitors and the major distributors. These dis-
tributors have charged, by indirection, of course, that
Myers is a "paid agitator," whose object is to block such
an understanding, and it is no more than fair to those of
you who have held the contrary opinion — the opinion that
he has fought for your interests unselfishly and with per-
severance, to know whether the accusation is justified.
The subject matter in that editorial was the actions of
Mr. Myers during the 5-5-5 conferences (1930), conducted
under the chairmanship of Mr. Kent. During those confer-
ences Mr. Myers proved that he, not only favored an
understanding, but did all there was in his power to bring
about the conclusion of an agreement. Unfortunately, the
major companies failed to put that agreement into force,
thus running out, not only on the exhibitors, but also on
their own representative, Air. Kent.
Let us now deal with the facts of another conference, the
2-2-2 conference, which, too, was conducted under the
chairmanship of Mr. Kent.
Early in 1932, a few distributors began selling their pic-
tures in some localities exclusively. That is, they would
allow, as you know, only one theatre to show them, and
the management of the favored theatre would advertise
the fact to the town folk, the theory being that, if the
picture-goers learned that certain desirable pictures would
not be shown anywhere else except in that theatre, they
would have to go there if they wanted to see these pictures
at all.
Among the exhibitors who revolted against such a policy
of picture leasing was M. A. Lightman, at that time presi-
dent of Motion Picture Theatre Owners of America. Light-
man became so incensed that he communicated with Allied
States Association, and assured its executives that he and
his organization were ready to back up the Allied program
of seeking industry reforms through legislation.
After much correspondence, a meeting was arranged
and, on September 20 (1932), delegates representing
M. P. T. O. A. and Allied States met at the Congress
Hotel, in Chicago, and the Allied legislative program,
specifically the Brookhart Bill, parent of the Neely Bill,
received the endorsement of the M. P. T. O. A. delegates.
It was at this juncture that Mr. Kent again interposed
and arranged for a conference between the two exhibitor
associations and his own company, Fox Film Corporation,
and shortly afterwards two representatives from each
group, Allied, M. P. T. O. A., and Fox Film Corporation,
met to discuss and to adopt a trade practices code.
Mr. Kent made it clear to both Allied and M. P. T. O. A.
that, in these negotiations, he represented no other com-
pany except his own, but he expressed the belief that, if the
conferees should reach an agreement, he would undertake
to persuade the other film companies to adopt it.
Mr. Myers, not only did not oppose Kent's suggestion,
but, in a desire to expedite an agreement among the con-
ferees, he had himself appointed as one of the delegates.
After much discussion, the delegates reached an agree-
ment.
At the suggestion of Mr. Kent, the agreement was sub-
mitted by a subcommittee of the full committee to every
one of the national distributors with a request that tin y
inform both exhibitor organizations, not later than Novem-
ber 19, whether they were willing to put the agreement into
effect for a period of three years beginning January 1, 1933 ;
Allied and M. P. T. O. A. were to hold two mass meetings,
the one on November 30, in Chicago, and the other on
December 3, in New York, for the purpose of giving the
exhibitors of the rank-and-file a chance to say whether
they were willing that the legislative program be aban-
doned in favor of the agreement, and the two exhibitor
bodies had to have a reply before the first mass meeting.
Of the distributors, only one — Fox Film Corporation,
replied ; it informed the two exhibitor associations that it
would be willing to adopt the agreement as indicated by
the subcommittee. United Artists and Columbia replied
that they would not subscribe to the agreement, United
Artists giving as a reason its belief that the move might be
considered "concerted action" in the event that litigation
arose. Paramount and Warner Bros, replied that they could
not reach a decision before November 19, but did not in-
dicate when they would be able to decide. Universal
indicated dissatisfaction with certain provisions of the
agreement, but expressed a desire to negotiate with the
committee for a plan to apply only to Universal. MGM
indicated that it could not use the optional contract form
without expanding the Schedule to accommodate its sales
policies; further, that it would have to give the matter
additional thought before deciding. KKO did not reply.
When the major distributors went back on the exhibitors
and on Mr. Kent in the 5-5-5 conferences, and when they
refused to follow Mr. Kent's lead in the 2-2-2 conferences,
no independent exhibitor held Mr. Kent accountable for their
actions. By the same token, neither Mr. Kent nor any other
distributor should have held Mr. Myers accountable for
the refusal of Allied to accept the new code, particularly
since the Allied negotiating committee's report was ap-
proved by every member of the board of directors.
But the question of whether the distributors or Allied did
the first running out on the other, or of whether Sidney
Kent prefers to deal with Thurman Arnold rather than
with Abram F. Myers, or whether Abram Myers prefers
to deal with W. F. Rodgers rather than with Kent, is not
the point at issue; the question is: can the June 10th Code
cure the industry evils that are sapping its vitality? That
is the real issue ! The distributors say, "Yes !" ; the Allied
exhibitors say "No !" Can, then, the two opposing views
be reconciled? Let us examine the facts :
When the recent conferences for the formulation of the
Code began, it became apparent from the very first meeting
of the Allied and the distributor committees that it would
be imiKDssible to agree upon a formula that would bring
permanent peace in the industry, for the distributors re-
fused even to discuss one of the industry's greatest evils —
theatre control by producers and distributors ; and, after
the conferences were well under way, they sternly refused
to consent to the elimination of block-booking and blind-
selling, offering as a substitute an enlarged, but definitely
inadequate, cancellation privilege.
But why, you will say, should Allied have continued the
negotiations when it became known that the distributors
would not consent to the elimination of these two evils ? It is
evident that Allied, by not breaking off relations then and
there, hoped eventually to win them over on these subjects;
but its hopes did not materialize. Hence its action in Minne-
apolis.
Personally I feel that the time that Allied should have
made its decision was, not in Minneapolis, but, as I said
once before in these columns, in New York, at the very first
meeting, when the distributors refused to discuss theatre
divorcement. On the other hand, the time for the distribu-
tors to have withdrawn the Code from Allied was, not in
Minneapolis, but likewise in New York, when Mr. Rodgers
learned from Col. Cole, president of Allied States Associa-
tion, that Allied did not intend, either to abandon the
Neely Bill, or to withdraw its support from the Govern*
ment in the pending suit.
This paper believes that, until the producers abandon
block-booking and blind-selling and show a willingness at
{Continued on lost pane)
126
HARRISON'S REPORTS
August 12, 1939
"Our Leading Citizen" with Bob Burns
{Paramount , August 11 ; time, 88 nun.)
Despite a good production and competent performances,
this Urania is limited in its appeal to Bob Burns' fans. The
trouble lies in the plot, which is involved, and touches upon
subjects that do not make for entertainment. For instance,
the situations dealing with a strike and with the tactics
employed both by strikers and employer are unpleasant, for
they result in violence and bloodshed ; with so many actual
strikes taking place today, audiences arc in no mood to pay
to see a reenactment of them. Moreover, a good deal of
patriotic propaganda is inserted, not subtly, but in the form
of preachment, which tends to slow up the action. The
political involvements towards the end are amusing, and
hold one in suspense. The romance is of minor importance :
Bob Burns, leading lawyer in an American industrial
town, is disappointed when his deceased partner's son
(Joseph Allen), who had just been graduated from law
school and was to become Burns' partner, chooses to repre-
sent Gene Lockhart, the town's leading industrialist. Burns
felt that their place was with the common people, whom
they had always represented. When a strike breaks out in
Lockhart's plant, the members of the board of directors
plead with him not to call in strike breakers ; but Lockhart
refuses to listen to their pleas. Burns and a few others
resign ; at the same time Burns breaks with Allen, who
insisted on representing Lockhart. Strike breakers, led by
Charles Bickford, enter the town and start fighting ; the
factory foreman is killed. This arouses the people. Lock-
hart, frightened, attends a mass meeting at which he offers
to reinstate all the strikers and to give back the reduction ;
at the same time, desiring to change the subject, he informs
the assembled folk that he intended nominating Allen for
the Senate. Burns is resentful, for he knew Allen was inex-
perienced. He gets together enough evidence to prove Lock-
hart's crookedness in many business dealings ; first, he
forces Lockhart to return to a poor widow money he had
stolen from her. Then he orders Lockhart to withdraw
Allen as a candidate. Allen's eyes are opened when all the
evidence is put before him. At the state convention, Allen
names Burns as the candidate, which is accepted with
cheers. Burns, who had been out rounding up the men
responsible for the foreman's death, enters and, to his sur-
prise, is cheered. Lockhart is arrested as an accessory to
the murder. Allen and Burns' daughter (Susan Hayward)
are united.
Irvin S. Cobb wrote the story, and John C. Moffitt, the
screen play; Alfred Santell directed it, and George Arthur
produced it. In the cast are Elizabeth Patterson, Clarence
Kolb, Paul Guilfoyle, Kathleen Lockhart, and others.
Too depressing for children ; otherwise suitable for all.
Class A. Tempo fairly fast.
"In Name Only" with Carole Lombard,
Cary Grant and Kay Francis
(RKO, August 18; time, 94 min. )
Very good ! It is a streng triangle drama, strictly adult
in appeal. Produced with care, acted with sincerity by a
capable cast, and directed with intelligence, the picture
offers entertainment that mass as well as class audiences
will enjoy. One is in deep sympathy with the hero and the
heroine, who try to solve their romantic problems. The fact
that the hero is married to another woman does not lessen
one's respect for him, for it is clearly established that the
wife, a mercenary woman, had married him for his money.
Several of the situations are of the real "tearjerker"
variety ; they are caused by the unhappiness of the hero
and the heroine. The ending is extremely powerful ; not
only is it logical but it is satisfactory as well : —
Carole Lombard, a widow with a four year old daughter,
meets Cary Grant, wealthy and charming. They fall deeply
in love with each other. Miss Lombard, learning that Grant
was married to Kay Francis, insists that their friendship
end. But when he informs her that he had learned after
their marriage that Miss Francis loved some one else,
that she had married him only for his money, and that she
had made his life miserable, Miss Lombard decides to wait
for him, hoping he would obtain a divorce. Grant's parents,
who were entirely under the influence of Miss Francis,
upbraid Grant for his heartless treatment of his wife. Grant
urges Miss Francis to go to Paris for a divorce; she leaves
with his parents, promising to obtain it. After months of
waiting, Grant and Miss Lombard are heartbroken when,
upon Miss Francis' return, they learn that she had no in-
tention of divorcing him, and decide to part. Grant gets
drunk, goes to a cheap hotel, and falls asleep in front of an
open window ; the next morning he becomes very ill because
of the freezing temperature. The hotel manager calls for
Miss Lombard, whose address he had found in Grant's
pocket ; she rushes to his side and nurses him for two days.
But when he takes a turn for the worse, she calls his
family physician, who rushes him to the hospital ; she fol-
lows him there. On advice of the doctor, Grant's father
permits her to see Grant and to encourage him to get well.
Miss Francis goes to the hospital to see Grant, but Miss
Lombard refuses to permit her to enter his room. Without
realizing that Grant's parents were listening, Miss Francis
tells Miss Lombard she would rather see Grant dead than
married to her. Besides, she was interested in getting not
only his money but his father's, when he would die. Shocked,
the father advises her to take what she could from Grant
and release him. For the first time, the father realizes how
noble Miss Lombard was and is happy to give his consent to
their union after the divorce.
The plot was adapted from the novel by Bessie Breuer.
Richard Sherman wrote the screen play, John Cromwell
directed it, and Pandro Berman produced it. In the cast are
Jonathan Hale, Nella Walker, Katharine Alexander, Helen
Vinson, Peggy Ann Garner, and Frank Puglia.
Hardly a picture for children. Suitable for adults and
adolescents. Class B. Although the tempo is not fast the
action is always engrossing.
"Beau Geste" with Gary Cooper,
Ray Milland, Robert Preston
and Brian Donlevy
(Paramount [1939-40], September IS; time, 113 min.)
Gary Cooper's popularity and the fame of the novel
should make this a box-office attraction of varying degrees,
but it is only fairly good entertainment. It lacks the appeal
and thrill of the first "Beau Geste," produced in 1926, one
reason being that the story is somewhat outmoded, even
though several alterations were made. Those who did not
see the first picture, however, may be pretty much thrilled
and their interest may be held by a mystery, which is not
cleared up until the end. The most appealing thing is the
love between three brothers, and the sacrifices they make
for one another. Parts of the picture are somewhat harrow-
ing ; they deal with the cruelty of an officer towards his
men. The romance is of little consequence. Most of the
action takes place in the African Desert. The story is told
in flashback : —
Gary Cooper, one of three brothers who had been reared
by a devoted aunt, knowing that his aunt would be dis-
graced when it was discovered that she had sold a precious
emerald belonging to her husband, putting a paste necklace
in its place, steals the imitation. He knew that the money
was spent on him and his brothers. He runs away, leaving
a note saying he had stolen the emerald. Knowing that he
had joined the Foreign Legion, the other two brothers (Ray
Milland and Robert Preston), who had complete faith in
Cooper's honesty, do likewise so that the blame would not
fall only on Cooper. Eventually the three meet at a fort in
the African Desert. A jewel thief (J. Carrol Naish), having
overheard the brothers jesting about the emerald, and
knowing that Cooper had the jewel with him, is determined
to steal it. He takes into his confidence the brutal Sergeant
(Brian Donlevy), who promises to help him. Some of the
men, including Preston, are sent to another fort. Just when
the men had started a revolt against Donlevy, they are
attacked by native tribes. Every one but Milland and Don-
levy are killed. When Milland, who had warned Donlevy
not to put Cooper's body in an upright position against the
battlement so as to fool the natives, as he had done with the
other dead men, finds him searching for the diamond and
lifting Cooper's body up, he kills him. Just then Preston
and his detachment arrive, and are both puzzled and
amazed at what they find, and at not receiving a response
from within the fort. Preston goes over the wall and finds
Cooper's body; Milland had escaped. He puts the body in
a bed, with Donlevy at the foot of it, in order to keep a
vow he had made to Cooper when they were children — that
if Cooper should die, he would give him a viking burial,
with a "dog" at his feet. He then sets fire to the bed and the
fort goes up in flames. He finds Milland, and they try to
get through. But Preston is killed by a sniper. Milland sur-
vives and returns home with a letter Cooper had given him
to deliver to his aunt. The letter explained that Cooper
knew about the emerald and that he had sacrificed his life
for his aunt's sake. Milland and his sweetheart (Susan
Ha v ward) are united.
The plot was adapted from the novel by Percival C.
Wren: Robert Carson wrote the screen play, and William
A. Wellman directed and produced it. In the cast are Albert
Dekker. Broderick Crawford, Charles Barton, and others.
Suitability, Class A.
August 12, 1939
HARRISON'S REPORTS
127
"Miracles for Sale" with Robert Young
and Florence Rice
(MGM, August 4; time, 71 mm.)
Just moderately entertaining program fare. It mixes
comedy with murder mystery-melodrama, but is not unusal
from either standpoint, since the comedy is forced and the
murderer's identity is obvious. The only thing that might
appeal to the masses is the fact that tricks of magic are
performed and the methods employed to perform them are
disclosed. The love interest is pleasant : —
Robert Young, a former famous magician, who had
retired from the stage to devote his time to inventing new
illusions for sale to the trade, is known also for his work in
uncovering the trickery employed in occultism. He receives
a visit from Florence Rice, who wanted him to help her ;
but before being able to tell him anything, she becomes
frightened and refrains from confiding in him. Young, who
had become attracted to her, decides to help her anyway. In
a short time two murders are committed, in which Miss
Rice and other magicians become involved. Young, working
with the police, traps the murderer. He proves that he had
killed the first man, husband of Miss Rice's sister, because
he had been blackmailing him, and the second man, because
he knew too much. By the time the case is solved, Young
and Miss Rice are in love with each other.
Clayton Rawson wrote the story, and Harry Ruskin and
James E. Grant, the screen play ; Tod Browning directed
it. In the cast are Frank Craven, Henry Hull, Lee Bowman,
Cliff Clark, Astrid Allwyn, and others.
Not for children, but suitable for adolescents and adults.
Class B. Tempo fairly fast.
"Elsa Maxwell's Hotel for Women" with
Linda Darnell, James Ellison
and Ann Sothern
(20th Century-Fox [1939-40], August 4; time, 83 min.)
Even though this picture has been produced lavishly, it
is just fair entertainment, suitable mostly for women. Men
may be bored, for the story revolves around the problems
of young girls who try to make a place for themselves in a
big city ; and what there is of a story is pretty trite. Linda
Darnell, a newcomer, is youthful and good-looking, and
should go far ; but as far as this picture is concerned, she
is photographed in so many close-ups and in other poses
that one gets the impression that the picture was made in
order to screen-test her. Elsa Maxwell's name may prove
a drawing card in centers where people have read about
her society exploits ; they may be curious to see her ;
otherwise, the picture lacks box-office names of value : —
Miss Darnell, who had left her family in Syracuse in
order to join her home-town sweetheart (James Ellison),
from whom she had been separated when he left for New
York to make his way as an architect, registers at a hotel
for women only. Her arrival is a complete surprise to
Ellison ; he makes her understand that immediate marriage
would be a bad thing for his career, and so they part.
Heartbroken, Miss Darnell prepares to go back home. But
Ann Sothern, who had the room next to her's, induces her
to stay on and work. Miss Sothern introduces her to Sidney
Blackmer, a model's agent, who in turn sends her to Alan
Dinehart, head of a large advertising agency. Dinehart is
struck by her beauty and immediately engages her. She
becomes an overnight sensation. This worries Ellison, who
still loved her. He is enraged when she shows an interest
in his employer (John Halliday), who was known for his
affairs with women. Lynn Bari, Halliday's mistress, warns
Miss Darnell to keep away from Halliday, but she refuses.
Miss Darnell accepts an invitation to dine with Halliday at
his home; Miss Bari enters and shoots him. Although
Halliday was wounded but slightly, the affair involves Miss
Darnell in a scandal, thereby spoiling her chances as a
model. But she does not care, for she and Ellison had be-
come reconciled and planned to marry.
Elsa Maxwell and Kathryn Scola wrote the story, and
Miss Scola and Darrell Ware, the screen play; Gregory
Ratoff directed it, and Raymond Griffith produced it. Tn
the cast are Katharine Aldridge, Jean Rogers, June Gale,
Joyce Compton, Elsa Maxwell, and others.
Not for children. Suitable for adolescents and adults.
Class B. Action somewhat slow-moving.
"Bad Lands" with Robert Barrat
( A'A'O. August 11 ; time, 70 min.)
Just a moderately entertaining program melodrama. An
idea similar to the one that was employed in "Lost Patrol."
produced by RKO in 1934, is employed, but without the
effectiveness of the other. The philosophizing on the part
of the ten men who were trapped by Indians and doomed
to die tends to bore one ; and, since the action is confined to
practically one spot, the spectator becomes restless. What-
ever appeal this picture may have will be directed only to
men, for there is no romance and no women in the cast : —
Sheriff Robert Barrat and a posse of nine men start out
across the Arizona Desert in search of a half-breed Indian,
a dangerous killer. Their water soon gives out and, fearing
that they would die of thirst, they keep going. Fortunately
they come upon a water hole, where they are able to re-
fresh themselves. One of the men discovers silver and
makes an attempt to desert in order to enter a claim. But
Barrat warns him not to do so until they had first finished
the job they had set out to do. A shot warns them that they
were in Indian country. One shot follows another and,
since they could not see the snipers, they realize that they
were trapped. Unnerved and broken in spirit, the men fight
amongst themselves. Eight are gradually killed, the Sheriff
and one other having survived. The Indians, thinking they
had killed all, make an appearance ; Barrat and the other
man open fire on them ; they kill the Indian they had gone
after. But Barrat alone survives. A contingent of U. S.
Cavalrymen find him in a slightly demented condition.
Clarence Upson Young wrote the story and screen
play ; Lew Anders directed it, and Robert Sisk produced it.
In the cast are Noah Beery, Jr., Guinn Williams, Douglas
Walton, Andy Clyde, Addison Richards, Robert Coote,
Paul Hurst, Francis Ford, and others.
Suitability, Class A. Action somewhat slow.
"Stanley and Livingstone" with Spencer
Tracy, Sir Cedric Hardwicke, Nancy
Kelly and Henry Hull
(20th Century-Fox [1939-40], August 18; time, 101 mm.)
This picture gives one the impression of being partly a
travelogue and partly a drama, but it is neither a good
drama nor a good travelogue. It is only a fair entertain-
ment. To like it well, one must have an interest, first, in the
development of Africa, and secondly in converting the
blacks into Christians. But there will be a drawback even
in the case where one may be interested in converting the
natives, for different sects may have different views as to
that.
Henry M. Stanley and David Livingstone are historical
personages : Livingstone was an explorer, who had been
reported lost in exploring Africa, the Dark Continent, and
Stanley went to find him. How much of the picture story,
however, is fiction and how much fact is hard to tell from
the picture unless one reads history.
In the picture story, Stanley (Spencer Tracy), an ace
reporter for James Gordon Bennett's New York Herald.
is sent to Africa to find Dr. David Livingstone (Sir
Cedric Hardwicke), a missionary, who had been reported
lost, after the efforts of Gareth (Richard Greene), son
of Lord Tyce (Charles Coburn), owner of the London
Globe, had made the attempt and failed, taking the word of
the natives that Livingstone was dead. Stanley reaches
Zanzibar and calls on John Kingsley (Henry Travers),
British consular agent, to obtain a passport, so that he
might travel under English protection. There he meets
Kingsley 's daughter Eve (Nancy Kelly), and immediately
becomes attracted to her; she had been taking care of
Gareth, who had returned from the expedition fever-
racked. Eve attempts to persuade Stanley to abandon his
plans because of the danger to his health, but he is in-
flexible. After encountering great dangers from animal,
native, insect and the rain, Stanley finds Livingstone alive,
not a shrivelled old man, prisoner of the natives, but well
and working among the natives to convert them to Chris-
tianity; also mapping out much of South Africa. Living-
stone tells Stanley that he could not return to civilization,
for he wanted to carry on. Full of admiration, Stanley re-
turns to London with Dr. Livingstone's maps and reports
to the Geographical Society. There he finds Eve married
to Gareth and is heartbroken. But the Society does not
receive Stanley's documents as genuine, accepting the sup-
position, supported by Lord Tyce, that they were fradulent.
Right at the moment, however, word reaches the Society
that Dr. Livingstone's body had been taken by the natives
to Zanzibar. Documents found on the body proved Stanley's
contentions correct. The Society offers to Stanley its apolo-
gies. He returns to Africa to take up the work where
Livingstone had left it.
The screen play is by Philip Dunne and Juliet] Josephson.
The direction is by Henry King. Kenneth Nfacgowan is the
producer. Others in the cast arc Walter Brennan, Miles
Mandcr, David Torrencc and Paul Stanton.
Morally not objectionable to any one. Suitability, Class A.
128
HARRISON'S REPORTS
August 12, 1939
least to limit, if not entirely abandon, their theatre opera-
tions, there can be no peace in the industry. The distribu-
tor decision to put the Code into effect without the co-
operation of Allied will not solve the industry's problems,
ior it lias a fundamental defect : it ignores the evils from
which all the others spring. The question is, therefore,
whether the major distributors will effect reforms on the
outstanding evils voluntarily or have such reforms im-
posed on them by the Department of Justice and the United
States Congress ; or else go broke in litigation. They will
have to make a choice !
STORY FORECASTS FOR THE 1939-40
SEASON
RKO (Radio Pictures)
(Continued from last zveek)
"IVANHOE," the Sir Walter Scott classic, which was
published for the first time in 1820, dealing with the at-
tempts of John, brother of King Richard, to take the throne
away from his brother while he was away in the Holy Land,
fighting the Saracens. As part of his scheme, John induces
the Emperor of Austria to hold Richard as a hostage.
Richard escapes from Austria and, accompanied by Ivan-
hoe, his trusted friend and a valiant warrior, reaches Eng-
land in disguise. Guilbert captures Ivanhoe and carries him
to his castle, thus hoping to lure there King Richard so as
to kill him. But Ivanhoe, despite the tortures, refuses to re-
veal Richard's hiding place. Unknown to Robin Hood,
Richard was among his men. When Richard learns of Ivan-
hoe's plight, he reveals his identity to Robin Hood, who
promises to join him in Ivanhoe's rescue. With the aid of
Robin Hood, Richard rescues Ivanhoe, defeats usurper
John, and restores England to the people. Ivanhoe marries
Rowena, a Jewess, whom he had met, and who had helped
him against his enemies.
Comment : "Ivanhoe" was produced once before, in 1913,
as a two-reel subject. At that time, any film of more than
one thousand feet of length was considered a feature. It
made a great hit. The novel has been read by millions and
enjoyed by them. And it is taught in some schools.
Forecast : There is no doubt that "Ivanhoe" will make
an excellent picture, of first magnitude, so far as quality is
concerned, for the action is fast, there are plentiful heroics,
the kind that thrill, and many of the situations appeal to the
emotions of sympathy. So far as the box office is con-
cerned, however, there is a drawback — it is a costume
story. But in view of the fact that "Robin Hood" has made
a great box-office success, "Ivanhoe," too, may have a simi-
lar success, particularly if RKO should produce it mi
natural colors. Color seems to be "a natural" in costume
stories.
"LITTLE ORVIE," the Booth Tarkington novel, deal-
ing with a shy eight-year-old boy who, upon meeting his
little cousin for the first time, becomes a noisy hoodlum so
as to attract the attention his cousin had been attracting.
An enmity between the two is the result. The little boy
wanted a dog, but his parents would not allow him to have
one. In the end, the boy finds himself with three dogs. He
now gets all the attention.
Comment : Booth Tarkington is noted for his human in-
terest stories about little boys and dogs. As a written story,
this "v.e, tan, is good, but as picture material is only fair;
it is the kind that will appeal mostly to little children.
Forecast : It should turn out a fairly good comedy, suit-
able for a double bill.
"NURSE EDITH CAVELL," with Anna Neagle. the
well known English star, to be supported by Edna May
Oliver, May Robson, Zasu Pitts, H. B. Warner, Halliwell
Hobbs and others, to be produced and directed by Herbert
Wilcox, from a screen play by Michael Hogan. It is the
story of Edith Cavell, the famous English nurse, who was
working in Belgium when the World War broke out.
Employing her knowledge of the country, she helped many
an Allied prisoner to escape. She is eventually caught
and, after a court-martial, is condemned and sentenced to
be shot. The intervention of Whitlock, American Minister
to Belgium, is impotent to induce the German military to
stay the execution ; Nurse Cavell dies a heroine's death.
Comment : The story of Nurse Cavell was produced once
before, in 1918, by Select Pictures Corporation; it turned
out a good picture, and took well at the box office. The
present story is far more powerful ; it has action, suspense,
and deep pathos. One follows the fate of the noble woman
with great interest, and when she is sentenced by the mili-
tary to be shot at sunrise one feels the loss as personal.
Forecast: Mr. Wilcox, the English director, has pro-
duced so many big pictures that he is well-suited to pro-
duce and direct a subject of this magnitude. Consequently,
"Nurse Cavell" should turn out an excellent picture in
quality, and since the subject is of universal appeal, par-
ticularly at this time, it should do equally well at the box
office.
"PARTS UNKNOWN," the Frances Parkinson Keys
novel, dealing with a hero who joins the U. S. Consular
service, induces the girl he loves to marry him and follow
him to Bolivia, where he hail been appointed as Vice-
Consul. There the heroine becomes ill, and loses her child.
He is transferred to Canton, China, and that place is just
like an exile to them. His father is killed by Cantonese who
had revolted and then he sends his wife and childrin aboard
a U. S. Gunboat. After the fray is over he returns to the
United States on vacation, taking his wife along. When an
opportunity presents itself to him to go in business, he
quits the Consular service, and his wife, considering him a
deserter, leaves him.
Comment: Career men in the United States Consular
Service will certainly feel grateful towards RKO for mak-
ing a picture out of this novel, for it lays bare the troubles
and tribulations they go through in the exercises of their
duty, and shows how meagerly they are paid. There is
considerable human interest in the story, but the incident
of the heroine's leaving the hero in the end will not prove
pleasurable to the average picture-goer, who wants a happy
ending.
Forecast : It is program material, and if the ending
should be altered it should make a fairly good picture,
suitable for a double bill, unless a popular player is given
the hero's part.
"RENO," an original story by Ellis St. Joseph, to be
produced by Robert F. Sisk, with Richard Dix in the hero's
part, it is the story of a young and ambitious lawyer, who,
having failed to make a fortune in Goldfield, drifts into
Reno, a booming town because of the Gold Rush in other
parts of Nevada. Soon the gold-rush dies down and Reno
begins to decline. It is then that the hero conceives the idea
of making Reno a divorce center. His scheme succeeds
and he becomes famous as a Divorce King lawyer. But at
the same time he incurs the enmity of another lawyer, whose
stenographer the hero had married. Determined to ruin him,
the enemy lawyer brings charges against him for unethical
practices, and, being heart-broken because he had learned
that his wife was in love with someone else, he refuses
to defend himself and is disbarred. His wife goes to the
man she loved. Twenty years later he returns to Reno and.
under an alias, starts a gambling place. Soon one of his
clients is his own daughter, who was seeking a divorce
from her husband, even though she loved him, and even
though she was broke. The hero gives her a job as a hat-
check girl. From her he learns that his wife had died of a
broken heart because of her mistake in divorcing him. Be-
fore his daughter's decree becomes final, he sends for her
husband and learns that the cause of estrangement was
another woman, who was blackmailing him. He thwarts
the blackmailer, but in so doing he is arrested by the police.
The testimony of his daughter, however, vindicates him,
not only in this but also in the disbarrment case.
Comment : This is fine dramatic material, with action and
human interest. It is material for a better than program
picture.
Forecast : With care, this story should make a power-
fully dramatic picture. As far as its box-office results are
concerned, these should depend on Richard Dix's drawing
powers. But a good production should help much.
"SWISS FAMILY ROBINSON," from the well known
old novel by Jean R. Wyss, to be produced by Gene Towne
and Graham Baker, — an adventure melodrama, dealing with
a Swiss family consisting of father, mother and four sons,
the lone survivors of a wrecked ship, who find themselves
on an uninhabited coast in the tropics. The story revolves
mostly around their efforts to make an existence. After ten
years of life on that place, they find another castaway, an
English woman. They take her to their home and soon
the eldest son falls in love with her. A ship looking for
her eventually finds them. She and some of the children
return to civilization but the parents and two of the sons
remain, to build a New Switzerland.
Comment: The material is not such as to make an out-
standing production. The efforts of the family to make a
home and to find means of making a living is only of mild
interest.
Forecast : The picture should turn out fairly good to
good, with the box-office results depending partly on the
fame of the book and partlv on the players whom the pro-
ducers will assign in the d:ffer?nt mles.
IN TWO SECTIONS— SECTION TWO
HARRISON'S REPORTS
Vol. XXI NEW YORK, N. Y., SATURDAY, AUGUST 12, 1939 No. 32
(Partial Index No. 4 — Pages 102 to 124 Incl.)
Title of Picture Revieived on Page
Andy Hardy Gets Spring Fever— MGM (85 min.) . . .118
Bachelor Mother— RKO (81 min.) 106
Blondie Takes a Vacation— Columbia (68^ min.) 118
Bulldog Drummond's Bride— Paramount (56 min.)... 106
Career— RKO (79 min.) HI
Cowboy Quarterback, The— First National (56 min.). 119
Daughters Courageous — First National (106 min.) 103
Dead Men Tell No Tales— Alliance (69 min.) 122
Each Dawn I Die— First National (91 min.) 122
Forgotten Woman, The — Universal (68 min.) Ill
Four Feathers — United Artists (116 min.) 107
Frontier Marshal — 20th Century-Fox (71 min.) 123
Girl From Nowhere, The — Monogram (See "Should
a Girl Marry?".) 106
Golden Gloves — Universal (See "Ex-Champ") 83
Good Girls Go To Paris— Columbia (77 min.) 102
Hell's Kitchen— Warner Bros. (81 min.) 107
Hidden Power — Columbia (59 min.) 123
Indianapolis Speedway — Warner Bros. (81 min.) 114
I Stole a Million — Universal (77 min.) 119
Magnificent Fraud, The — Paramount (77 min.) 110
Man About Town — Paramount (84 min.) 102
Man in the Iron Mask, The— United Artists (110m.). 110
Man Who Dared, The— First National (60 min.) 107
Mickey the Kid — Republic (68 min.) 103
Million Dollar Legs — Paramount (64 min.) 115
Mutiny on the Black Hawk — Universal (66 min.) . . . .115
Nancy Drew, Trouble Shooter — Warner Bros. (69m.) .107
Naughty But Nice— Warner Bros. (90 min.) 102
News Is Made at Night — 20th Century-Fox (71m.) . . .111
On Borrowed Time— MGM (98 min.) 110
Parents on Trial — Columbia (57 min.) 119
Saint in London, The— RKO (72 min.) 102
Second Fiddle — 20th Century-Fox (86 min.) 110
She Married a Cop — Republic (66 min.) Ill
Should a Girl Marry? — Monogram (61 min.) 106
Should Husbands Work? — Republic (66 min.) 119
Spellbinder, The— RKO (69 min.) 118
Stronger Than Desire— MGM (78 min.) 106
Stunt Pilot — Monogram (62 min.) 114
Susannah of the Mounties — 20th Century-Fox (78m.). 103
That Girl from College — RKO (See "Sorority
House") 66
They All Come Out— MGM (69 min.) 114
They Shall Have Music— United Artists (100 min.) . .115
This Man Is News — Paramount (74 min.) 123
Timber Stampede— RKO (59 min.) 103
Tomorrow at Midnight — Universal (See "For Love
or Money") 66
Unexpected Father — Universal (77 min.) 122
Ware Case, The — 20th Century-Fox (71 min.) 115
Waterfront — Warner Bros. (59 min.) 114
Way Down South— RKO (62 min.) 122
Winter Ca rnival — United Artists (90 min.) 118
Woman Is the Judge. A — Columbia (62 min.) 123
RELEASE SCHEDULE FOR FEATURES
Columbia Features
(729 Seventh Ave., New York, N. Y.)
9207 Western Caravan — Starrett (58m.) June 15
9012 Clouds Over Europe — Olivier-Hobson June 20
9032 Parents on Trial — Parker-Downs June 29
9005 Good Girls Go To Paris— Blondell June 30
9025 A Woman Is the Judge — Hudson-Kruger . . .July 10
9208 The Man From Sundown— Starrett (59m.) . .July 15
9010 Blondie Takes a Vacation — Singleton July 20
Behind Prison Gates (Escape From
Alcatraz) — Donlevy- Wells July 28
Coast Guard — Scott-Dee Aug. 4
Man They Could Not Hang — Karloff Aug. 17
Five Little Peppers and How They Grew —
Edith Fellows Aug. 22
9209 Riders of Black River— Starrett Aug. 23
Konga, the Wild Stallion — Fred Stone Aug. 30
Golden Boy — Stanwyck-Men jou Aug. 31
First National Features
(321 IV. 44th St., Neio York, N. Y.)
374 Code of the Secret Service — Reagan May 27
375 The Man Who Dared — Bryan-Grapewin June 3
363 The Kid From Kokomo — O'Brien-Morris . . . .June 24
360 Daughters Courageous — Garfield-Lane July 22
366 The Cowboy Quarterback — Wheeler-Wilson .July 29
356 Each Dawn I Die — Cagney-Raft-Bryan Aug. 19
367 Angels Wash Their Faces — Sheridan Aug. 26
376 The Hobby Family — Rich-O'Neill-Moran ...Aug. 26
(End of 1938-39 Season)
Grand National Features
(50 Rockefeller Plaza, Nczu York, N. Y.)
Wl-3 The Singing Cowgirl — D. Page (57m.) . . . .May 31
Children of the Wild — Valerie-Bush Not set
Metro-Goldwyn-Mayer Features
(1540 Broadway, New York, N. Y.)
929 The Kid From Texas — O'Keefe-Rice Apr. 14
934 The Hardys Ride High— Stone-Rooney Apr. 21
932 Calling Dr. Kildare — L. Barrymore-Ayres. .. .Apr. 28
933 Lucky Night — Taylor- Loy May 5
935 Tell No Tales— Douglas-Piatt May 12
936 It's a Wonderful World— Colbert-Stewart ...May 19
937 Bridal Suite — Young-Annabella May 26
No release for June 6
938 6,000 Enemies — Pidgeon-Johnson June 9
939 Tarzan Finds a Son — Weissmuller-O'Sullivan.June 16
940 Maisie — Sothern- Young-Hunter June 23
941 Stronger Than Desire — Bruce-Pidgeon June 30
942 On Borrowed Time — L. Barrymore July 7
643 Rose Marie — Reissue July 7
943 They All Come Out— Johnson- Neal July 14
944 Andy Hardy Gets Spring Fever — Rooney July 21
945 Goodbye, Mr. Chips — Robert Donat July 28
946 Miracles for Sale — R. Young-Rice (reset) ...Aug. 4
947 Lady of the Tropics — Taylor-LaMarr Aug. 11
948 These Glamour Girls — Ayres-Turner-Brown . Aug. 18
949 The Wizard of Oz — Garland-F. Morgan Aug. 25
Monogram Features
(1270 Sixth Ave., New Y<ork, N. Y.)
3823 Should a Girl Marry ?— Nagel-Hull June 10
3814 Stunt Pilot— John Trent July 1
3S65 Man From Texas— Ritter (60m.) July 21
3807 Mr. Wong in Chinatown— Karloff Aug. 1
3825 Girl From Rio— Movila-Hull (62m.) Aug. 7
3866 Riders of the Frontier— Ritter Aug. 9
3826 Irish Luck— Frankie Darro Aug. 22
3856 Oklahoma Terror— Randall Aug. 25
3815 Sky Patrol— John Trent Sept. 9
3816 Wings Over the Andes— John Trent Sept. 18
3803 Murder in the Big House— Bickford Sept. 20
3808 Mr. Wong at Headquarters— Karloff Sept. 25
("Roll, Wagon, Roll," listed in the last Index as an August
16 release, has been withdrawn)
(End of 1938-39 Season)
Paramount Features
(1501 Broadway, New York, N. Y.)
3S36 Hotel Imperial— Miranda-Milland May 12
3837 Some Like It Hot— Hope-Ross-Krupa May 19
3838 Unmarried — Jones-Twclvetrees May 26
3864 Stolen Life— Bergner-Redgrave May 26
3839 Gracie Allen Murder Case — Allen-William. June 2
3840 Undercover Doctor — Nolan-Naish-Logan ..June 9
3841 Invitation to Happiness — Dunne-MacMurray.June 16
3842 Grand Jury Secrets — Howard-Frawley June 23
3843 Heritage of the Desert — Woods-Barrat
(78 min.) June 23
3844 Bulldog Drummond's Bride— Howard- Angel.June 30
3845 Man About Town — Benny-Lamour- Arnold -July 7
3846 Million Dollar Legs— Grable-Hartley July 14
3847 The Magnificent Fraud— Tamiroft'-Nolan ...July 21
3848 Island of Lost Men— Wong-Naish July 28
3849 Night Work— Boland-Ruggles Aug. 4
3850 Our Leading Citizen — Burns-Hay ward Aug. 11
3859 Renegade Trail— William Bovd (57m.) Aug. 18
3865 This Man Is News— Barnes-Hobson Aug. 18
3851 The Star Maker— Crosby-Campbell Aug. 25
(End of 1938-39 Season)
Beginning of 1939-40 Season
Death ot a Champion — Overman-Dale Sept. 1
World on Parade — Henry-Barrett Sept. 8
Beau Geste — Cooper-Milland-Hayward ....Sept. 15
$1,000 a Touchdown— Joe E. Brown-Rave . . Sept. 22
Republic Features
(1776 Broadzvay, New York, N. Y.)
814 Mickey the Kid— Ryan-Cabot-Pitts July 3
815 She Married a Cop — Parker-Regan July 12
816 Should Husbands Work? — James Gleason . . . .July 26
846 Colorado Sunset— Autry (64m.) July 31
( more to come)
RKO Features
(1270 Sixth Ave.. New York, N. Y.)
925 Panama Lady — Ball-Lane May 12
984 Racketeers of the Range — George O'Brien May 26
928 The Girl From Mexico — Velez-Wood June 2
926 The Girl and the Gambler — Duna-Carrillo . . .June 16
927 Five Came Back — Morris-Ball-Barrie June 23
985 Timber Stampede — George O'Brien June 30
929 The Saint in London — Sanders-Gray June 30
930 Career— Shirley-Ellis-Archer July 7
947 Way Down South — Breen-Mowbray-Blane ...July 21
931 The Spellbinder— L. Tracy-B. Read July 28
9.32 Bachelor Mother — Rogers-Niven-Coburn ....Aug. 4
933 The Bad Lands— Barrat- Richards Aug. 11
936 In Name Only — Lombard-Grant-Francis ....Aug. 18
986 The Fighting Gringo — George O'Brien Aus. 25
Twentieth Century-Fox Features
(444 W. 56th St., Nezv York, N. Y.)
950 It Could Happen to You — Erwin-Stuart June 30
952 Mr. Moto Takes a Vacation — Lorre July 7
949 Second Fiddle — Henie- Power- Vallee July 14
953 News Is Made at Night — Fostcr-Bari July 21
8014 The Ware Case— Clive Brook July 21
951 Frontier Marshal — Scott-Barnes-Romero ....July 28
(End of 1938-39 Season)
Beginning of 1939-40 Season
001 Elsa Maxwell's Hotel for Women — Darnell ..Aug. 4
002 Chicken Wagon Family — Withers-Carrillo ..Aug. 11
003 Stanley and Livingstone — Tracy-Kelly Aug. 18
004 The Jones Family in Quick Millions — Prouty. Aug. 25
005 The Adventures of Sherlock Holmes —
Rathbone-Bruce-Lupino Sept. 1
006 Charlie Chan at Treasure Island — Toler Sept. 8
006 Hollywood Cavalcade — Faye-Amcche-Erwin .Sept. 15
008 Stop, Look and Love — Rogers-Frawley Sept. 22
009 Here I am a Stranger — Greene-Kelly Sept. 29
United Artists Features
(729 Seventh Ave., New York, N. Y.)
Captain Fury — Aherne-McLaglcn-Lang May 26
The Hurricane — Reissue June 2
A Star Is Born — Reissue June 2
Elephant Boy — Reissue June 2
(End of 1938-39 Season)
Beginning of 1939-40 Season
Winter Carnival — Sheridan-Carlson July 28
Four Feathers — Richardson-Smith Aug. 4
Man in the Iron Mask — Hayward-J. Bennett Aug. 11
They Shail Have Music — McCrea-Heifetz-Leeds. .Aug. 18
Universal Features
(1250 Sixth Ave., New York, N. Y.)
A3019 Code of the Streets — Carey Apr. 14
A3018 Big Town Czar — MacLane-Brown-Arden. .Apr. 21
A3030 For Love or Money — Lang- Kent Apr. 28
A3010 Ex-Champ — McLaglen-Brown May 19
A3040 They Asked for It— Whalen-Hodges May 26
A3039 Inside Information — Lang-Foran June 2
A3009 The Sun Never Sets — Fairbanks, Jr June 9
A3038 House of Fear — Gargan-Hervey June 30
A3031 The Forgotten Woman — Gurie-Briggs July 7
Unexpected Father — Auer-O'Keefe (re.) ..Julvl4
I Stole a Million— Raft-Trevor (re.) July 21
When Tomorrow Comes — Dunne-Boyer ..Aug. 11
First Love — Durbin-Pallette Aug. 25
(End of 1938-39 Season)
Beginning of 1939-40. Season
Mutiny on the Black Hawk — Arlen-Devine.Sept. 1
The Underpup — Cummings-Grey Sept. 1
Bad Company — Cooper-Bartholomew Sept. 8
Desperate Trails — Brown-Baker Sept. 8
Hawaiian Nights — Downs-Carlisle Sept. 15
Rio — Gurie-Rathbone Sept. 22
(0904 "The Mikado" is being given special releases al-
though the general release date has not yet been set)
Warner Bros. Features
(321 IV. 44th St., New York, N. Y.)
322 Torchy Runs for Mayor — Farrell May 13
301 Juarez — Muni-Davis-Aherne-Rains June 10
324 Nancy Drew, Trouble Shooter — Granville ...June 17
311 Naughtv But Nice— Sheridan-D. Powell July 1
312 Hell's Kitchen— "Dead End" Kids-Lindsay .. July 8
325 Waterfront — Dickson-Morgan July 15
315 Indianapolis Speedway — Sheridan-O'Brien ...Aug. 5
326 Playing with Dynamite — Wyman-Jenkins ...Aug. 12
SHORT SUBJECT RELEASE SCHEDULE
Columbia — One Reel
9S05 Navy Champions— Sport Thrills (9J/2m.) ...Mar. 17
9657 Community Sing No. 7— (10j4m.) Mar. 24
9508 Happy Tots— Color Rhapsody (6^m.) Mar. 31
9705 Golf Chumps — Krazy Kat (6^m.) Apr. 6
9858 Screen Snapshots No. 8— (9^m.) Apr. 8
9509 The House That Jack Built— Cel. Rh. (7m.) .Apr. 14
9806 Diving Rhythm— Sport Thrills (9l/2m.) Apr. 21
9658 Community Sing No. 8— (10^m.) Apr. 21
9755 A Worm's Eve View — Scrappys (7m.) Apr. 28
9903 Washington Parade— Issue S3 (10m.) May 12
9706 Krazy's Shoe Shop — Krazy Kat (6m.) May 12
9859 Screen Snapshots No. 9— (9^m.) May 12
9659 Community Sing No. 9— (lO^m.) May 19
9963 Yankee Doodle Home— Vanities (10m.) May 19
9860 Screen Snapshots No. 10— (10m.) May 26
9510 Lucky Pigs— Color Rhapsody (7m.) May 26
9554 Man Made Island — Tours (9y2m.) May 26
9756 Scrappy's Rodeo — Scrappys (6m.) Tune 2
9807 Jockeys Up— Sport Thrills (lOVlm.) June 2
9861 Screen Snapshots No. 11— (9^m.) June 15
9660 Community Sing No. 10 — (10m.) June 16
9511 Nell's Yells— Color Rhapsody (7m.) June 30
9964 Montmarte Madness— Vanities (lOj^m.) June 30
9808 Technique of Tennis — Sport Thrills (9m.) ..June 30
9555 Sojourn in India — Tours (9l/2m. ) July 7
9809 There Goes Rusty— Sport Thrills (10^m.) . July 15
9512 Hollywood Sweepstakes— Col. Rhap. (8m.) . .July 28
9862 Screen Snapshots No. 12— (10m.) July 28
9904 Washington Parade — I ssue ¥4 Aug. 4
Columbia- — Two Reels
9149 Terror Rides the Rails— Mandr. £9 (13m.).. July 1
9150 The Unseen Monster— Mandr. #10 (16^m.) July 8
9436 Rattling Romeo— All Star (17m.) July 14
9151 At the Stroke of Eight— Mandrake #11
(18^m.) July 15
9161 Doomed Men — Overland witli Kit Karson
No. 1 July 21
9152 The Reward of Treachery — Mandrake #12
(19m.) July 22
9437 Trouble Finds Andy Clyde— All Star (18m.) July 28
9162 Condemned to Die— Overland No. 2 July 28
9163 Fight for Life — Overland No. 3 Aug. 4
9164 The Ride of Terror— Overland No. 4 Aug. 11
9165 The Path of Doom— Overland No. 5 Aug. 18
9166 Rendezvous with Death — Overland No. 6 . . . .Aug. 25
9167 The Killer Stallion— Overland No. 7 Sept. 1
Metro-Goldwyn-Mayer — One Reel
W-887 The Bear That Couldn't Sleep— Cartoons
(Technicolor) (9m.) June 10
F-958 How to Eat— Benchley (10m.) June 10
S-909 Poetry of Nature— Pete Smith (8m.) June 17
K-926 Yankee Doodle Goes to Town — Passing
Parade (11m.) June 17
K-927 Giant of Norway — Passing Parade (11m.) June 24
C-940 Joy Scouts— Our Gang (10m.) June 24
S-910 Culinary Carving — Pete Smith (9m.) July 1
C-941 Dog Daze— Our Gang (11m.) July 1
W-888 Goldilocks and the 3 Bears— Cart. (11m.) July 15
C-942 Auto Antics— Our Gang (10m.) July 22
K-928 Story That Couldn't Be Printed— Passing
Parade (Urn.) July 22
S-911 Take a Cue— Pete Smith Aug. 12
Metro-Goldwyn-Mayer — Two Reels
P-814 Help Wanted— Crime Doesn't Pay (21m.) June 10
Paramount — One Reel
J8-5 Popular Science #5— (10m.) May 12
V8-10 Swans— Paragraphic (9m.) May 19
E8-8 Wotta Nitemare— Popeye (7m.) May 19
K8-6 Jamaica — Color Cruises (9m.) May 26
A8-11 Tempo of Tomorrow — Headliner (10m.) ..June 2
P8-11 Paramount Pictorial #11— (10m.) June 2
R8-12 Death Valley Thrills— Spcrtlight (9m.) ..June 9
T8-9 The Sacred Crows — Betty Boop (6m.) June 9
E8-9 Ghosks Is the Bunk— Popeye (6^m.) June 16
L8-6 Unusual Occupations #6— (9^m.) June 16
V8-11 Farewell, Vienna — Paragraphic (9y2m.) . June 23
C8-5 The Barnyard Brat — Color Classic (6m.) . . June 30
R9-13 Watch Your Step— Sportlight (9m.) July 7
T8-10 Rhythm on the Reservation — Boop (6m.) ..July 7
P8-12 Paramount Pictorial #12— (9m.) (re.) . . . July 14
E8-10 Hello, How Am I?— Popeye (5^m.) July 14
K8-7 Colombia (Rio De Janeiro") — Color Cruise. July 21
E8-11 It's the Natural Thing to Do— Popeve
(6^m.) July 28
J8-6 Popular Science #6 — (10m.) (re.) \ug. 4
T8-11 Yip Yip Yippy— Betty Boop (6m.) Aug. 11
A8-12 Sweet Moments — Headliner (10m.) (re.) . .Aug. 11
V8-12 Not Yet Titled— Paragraphic Aug. 25
(End of 1938-39 Season)
RKO— One Reel
94113 Donald's Cousin Gus— Disney (7m.) May 19
94610 Swinguet— Reelism (8m.) May 26
94114 Beach Picnic— Disney (8m.) June 9
94311 Devil Drivers — Sportscope (9m.) June 16
94611 World of Tomorrow — Reelism (9m.) June 23
94115 Sea Scouts — Disney (8m.) June 30
94312 Riding the Crest — Sportscope (9m.) July 14
94116 The Pointer— Disney (8m.) Julv 21
94612 Zoo— Reelism (9m.) July 21
94118 Donald's Penguin— Disney (8m.) Aug. 11
94313 Kennel Kings — Sportscope (9m.) Aug. 11
94613 Not Yet Titled— Reelism Aug. 18
94118 The Autograph Hound — Disney Sept 1
(End of 1938-39 Season)
RKO — Two Reels
93110 March of Time— (19m.) May 12
93405 Baby Daze— E. Kennedy (15m.) Mav 19
93111 March of Time— (19m.) June 9
93504 Sagebrush Serenade— Whitley (19m.) . . . June 16
93706 Ring Madness— Leon Errol (19m.) June 30
93112 March of Time— (22m.) July 7
93406 Feathered Pests— E. Kennedy (16m.) July 14
93604 Sales Slips— Headliner (17m.) Julv21
93801 Five Times Five— Quintuplets (19m.) Jul"v21
93204 Marriage Go Round— Radio Flash (18m.) . July 28
93113 March of Time Aug. 4
(End of 1938-39 Season)
Twentieth Century-Fox — One Reel
9604 Fashion Forecast No. 4— (10m.) July 7
9517 Barnvard Baseball — Terry-Toon (7m.) Julv 14
9306 Youth in the Saddle— Sports (10m.) Julv 21
9518 The Old Fire Horse— Terry-Toon (7m.) . . . July 28
(End of 1938-39 Season)
Beginning of 1939-40 Season
0101 Birthplace of Icebergs — Thomas (11m.) ...Aug. 4
0551 Two Headed Giant — Terry-Toon (7m.) Aug. 11
0201 Conquering the Colorado — Adv. News
Cameraman (11m.) Aug. 18
0501 The Golden West— Terry-Toon (7m.) Aug. 25
0301 Big Game Fishing — Sports Sept. 1
0552 Hook, Line and Sinker — Terry-Toon Sept. 8
0601 Fashion Forecasts No. 1 Sept. 15
0502 Sheep in the Meadow — Terry-Toon Sept. 22
Universal — One Reel
A3375 Stranger Than Fiction 864— (9^m.) July 3
A3258 Stubborn Mule — Lantz cart. (7m.) July 3
A3363 Going Places with Thomas 865— (9m.) ...July 17
A3259 Arabs with Dirty Fezzes — Lantz (7m.) ...July 31
A3376 Stranger Than Fiction 865— (9m.) Aug. 7
A3260 Snuffy's Party — Lantz cartoon Aug. 7
A3261 Slap Happy Valley— Lantz cartoon Aug. 21
A3262 Silly Superstition — Lantz cartoon Aug. 28
(End of 1938-39 Season)
Universal — Two Reels
Beginning of 1939-40 Season
4110 The March of Freedom — Special (20m.) ....June 7
4581 The Renegade's Revenge — Oregon Trail 81
(21 min.) July 4
4582 The Flaming Forest — Oregon 82 (21m.) ... .July 11
4583 The Brink of Disaster— Oregon 83 (21m.) . . .July 18
4584 Thundering Doom — Oregon 84 ( 20m.) July 25
4585 Menacing Herd — Oregon 85 (19m.) Aug. 1
4586 Indian Vengeance — Oregon 86 (20m.) Aug. 8
With Best Dishes — Mentone (17m.) Aug. 9
4587 Trail of Treachery— Oregon 87 (20m.) ....Aug. 15
4588 Redskin's Revenge — Oregon 88 (18m.) Aug. 22
4589 Avalanche of Doom — Oregon 89 ( 18m.) Aug. 29
4590 The Plunge of Peril— Oregon 810 (20m.) . . .Sept. 5
Boy Meets Joy — Tomlin-Hodges Sept. 6
Vitaphone — One Reel
4711 Dave Apollon & Orch.— Mel. Mast. (10m.) . . Apr. 8
4909 The Crawfords "At Home" — Varieties
(11 min.) Apr. 15
4811 Porky and Teabiscuit — L. Tunes (7j^m.) ...Apr. 22
4516 Daffy Duck & Dinosaur— Mer. Mel. (8m.) . .Apr. 22
4609 Mechanix Illustrated 84— (10m.) Apr. 22
4713 Artie Shaw & Orch.— Mel. Mast. (10m.) . . . . Apr. 29
4309 Voodoo Fire— True Adventures (12m.) May 6
4517 Thugs With Dirty Mugs— Mer. Mel. (8m.) .May 6
4812 Kristopher Kolumbus, Jr.— L. Tunes (7m.).. May 13
4610 For Your Convenience — Col. Par. (9m.) May 20
4714 Larry Clinton & Orch.— Mel. Mast. (9m.) . . .May 20
4519 Naughty But Mice— Mer. Mel. (8m.) May 20
4910 Dean of the Pasteboards— Var. (10m.) May 27
4310 Haunted House — True Adventures (11m.) ..June 3
4520 Believe It Or Else— Mer. Mel. (9m.) June 3
4813 Polar Pals — Looney Tunes (6y2m.) June 3
4715 Leith Stevens and Orch. — Mel. Mast. (10m.) June 10
4612 Mechnix Illustrated 85 — (9m.) June 10
4518 Hobo Gadget Band— Mer. Mel. (7m.) (re.). June 17
4814 Scalp Trouble — Looney Tunes (7m.) June 24
4908 The Right Way— Varieties (9m.) July 1
4716 Rita Rio and Orch.— Mel. Mast. (10m.) July 1
4311 Lives in Peril — True Adventures (11m.) ....July 1
4521 Old Glory— Mer. Melodies (10m.) July 1
4611 Modern Methods — Color Parade (9m.) July 15
4522 Dangerous Dan McFoo — Mer. Mel. (8m.) ..July 15
4815 Porky's Picnic — Looney Tunes (7m.) July 15
4717 Will Osborne and Orch.— Mel. Mast. ( 10m.) July 22
4911 Witness Trouble-Grouch Club— Var. (9m.).Julv29
4523 Snow Man's Land— Mer. Mel. (7m.) July 29
4312 Three Minute Fuse — True Adv. (11m.) July 29
4613 Mechanix Illustrated 86 Aug. 5
4816 Wise Quack — Looney Tunes (7m.) Aug. 5
4524 Harum Scarum — Mer. Mel. (7m.) Aug. 12
4718 Eddie DeLansje & Orch.— Mel. Mast. (9m.). Aug. 12
4404 Romance in Color — Technicolor Spec Aug. 19
4912 One Day Stand — Varieties (9m.) Aug. 19
4313 Verge of Disaster — True Adv. (7m.) Aug. 26
4525 Detouring America — Mer. Mel. (8m.) Aug. 26
4526 Little Brother Rat— Mer. Mel Sept. 2
Vitaphone — Two Reels
4027 You're Next to Closing — Brev. (18m.) May 13
4028 Broadway Buckaroo — Bway. Brev. (18m.) ..June 3
4029 Wardrobe Girl— Bway. Brev. (19m.) June 17
4006 Quiet Please— Technicolor Prod. (18m.) ...July 1
4030 A Swing Opera— Bway. Brev. (18m.) July 22
4007 Bill of Rights— Tech. Prod. (17m.) Aug. 12
4018 Spare Parts — Bway. Brev Aug. 26
4(X)8 Hide, Ranger, Ride— Tech. Production Sept. 9
(End of 1 938-39 Season)
NEWSWEEKLY
NEW YORK
RELEASE DATES
Universal
795 Wednesday . . Aug. 9
796 Saturday . . . .Aug. 12
797 Wednesday ..Aug. 16
798 Saturday ....Aug. 19
799 Wednesday . . Aug. 23
800 Saturday .... Aug. 26
801 Wednesday ..Aug. 30
802 Saturday ...Sept. 2
803 Wednesday .Sept. 6
804 Saturday ...Sept. 9
805 Wednesday .Sept. 13
806 Saturday . . .Sept. 16
Fox Movietone
95 Wednesday . . . Aug. 9
96 Saturday Aug. 12
97 Wednesday . . - Aug. 16
98 Saturday Aug. 19
99 Wednesday . . .Aug. 23
100 Saturday ....Aug. 26
101 Wednesday ..Aug. 30
102 Saturday ...Sept. 2
103 Wednesday .Sept. 6
104 Saturday . . .Sept. 9
(End of 1938-39 Season)
1939-40 Season
1 Wednesday ...Sept. 13
2 Saturday Sept. 16
Paramount News
(There has been a change
in the release. Instead of
104 issues, there will be 112
for the 1938-39 Season)
104 Wednesday . .Aug. 2
105 Saturday Aug. 5
106 Wednesday ..Aug. 9
107 Saturday Aug. 12
108 Wednesday . .Aug. 16
109 Saturday ....Aug. 19
110 Wednesday ..Aug. 23
111 Saturday ....Aug. 26
112 Wednesday ..Aug. 30
(End of 1938-39 Season)
1939-40 Season
1 Saturday Sept. 2
2 Wednesday . . . Sept. 6
3 Saturday Sept. 9
4 Wednesday . . . Sept. 13
5 Saturday Sept. 16
Metrotone News
293 Wednesday . . Aug. 9
294 Saturday ....Aug. 12
295 Wednesday . .Aug. 16
296 Saturday ....Aug. 19
297 Wednesday . .Aug. 23
298 Saturday . . . .Aug. 26
299 Wednesday ..Aug. 30
301 Saturday . . . Sept. 2
302 Wednesday . Sept. 6
303 Saturday ...Sept. 9
(End of 1938-39 Season)
1939-40 Season
200 Wednesday . Sept. 13
201 Saturday . . .Sept. 16
Pathe News
05206 Wed. (E.).Aug. 9
05107 Sat. (O.).-Aug. 12
05208 Wed. (E.).Aug. 16
05109 Sat. (O.).-Aug. 19
05210 Wed. (E.). Aug. 23
05111 Sat. (O.).. Aug. 26
05212 Wed. (E.). Aug. 30
05113 Sat. (0.)..Sept. 2
05214 Wed. (E.).Sept. 6
05115 Sat. (0.)..Sept. 9
05216 Wed. (E.).Sept. 13
05117 Sat. (O.).. Sept. 16
Entered as second-class matter January 4, 1921, at the post office at New York, N«w York, under the act of March 3, 1879.
Harrison's Reports
Yearly Subscription Rates: 1270 SIXTH AVENUE Published Weakly by
United States $15.00 T)nnm 1 ftl 9 Harrison's Reports, Inc.,
U. S. Insular Possessions. 16.50 ROOm i6U Publisher
Canada 16.50 New York, N. Y. P. S. HARRISON, Editor
Mexico, Cuba, Spain 16.50 . „ .. _. , _ _
Great Britain 15.75 A Motion Picture Reviewing Service ....... , ...»
Australia, New Zealand, Devoted Chiefly to the Interests of the Exhibitors Established July 1, 1319
India, Europe, Asia .... 17.50
,,.„ nnr,„ Its Editorial Policy: No Problem Too Big for Its Editorial Circle 7-4682
a ^opy Columns, if It is to Benefit the Exhibitor.
A REVIEWING SERVICE FREE FROM THE INFLUENCE OF FILM ADVERTISING
Vol. XXI SATURDAY, AUGUST 19, 1939 No. 33
A CORRECTION WITH AN APOLOGY
TO W. F. RODGERS
In commenting upon the final installment of Mr. W. F.
Rodgers' statement in the August 5 issue of this publication,
I said also the following :
"It seems to me as if the tone of the statement is an
accusation that Allied ran out on the Code. In his Minne-
apolis speech, Bill Rodgers, if my memory serves me right,
made an unfortunate reference to 'paid agitators,' meaning
naturally that, if it were not for these agitators among
the Allied leaders, the Code would be accepted by the
members."
In the paragraph that followed, I expressed the opinion
that it was Mr. Abram F. Myers, Allied general counsel,
whom Mr. Rodgers had in mind as one of the "paid
agitators."
Mr. Rodgers now informs me that the expression he
employed was, not "paid agitators," but "professional
agitators."
The error was the result of my looking up the facts sur-
rounding Mr. Myers' activities in the 2-2-2 as well as the
5-5-5 conferences. In the December 24, 1932, issue of
Harrison's Reports, I found a reproduction of a statement
issued by M.P.T.O.A., but actually written, as I proved in
my comment on it, by some one connected with the Hays
association. The following is part of that statement :
"What is the result of all this manoeuvering and strategy
by Allied? For six years their paid organizers have con-
tinuously sponsored and campaigned for the Brookhart-
Myers Bills. ... It has been profitable to them. By falling
back on their six-year plan for another six years, it may
continue to be profitable." (Italics in the original.)
That is only one part where the unnamed Allied leaders
have been dubbed "paid organizers" ; there have been so
many times that they have been called that as well as ''paid
agitators," that it was not unnatural for me to have remem-
bered from so distant a time the word "paid" instead of the
word "professional."
But Mr. Rodgers did not employ the word "paid" ; he
employed the word "professional." And for my error, I
offer him my sincere apologies.
The substitution of the word "professional" for "paid,"
however, does not necessitate an alteration in the context of
that editorial, for what I endeavored to prove was, not
whether Mr. Myers is or is not paid for whatever services
he renders to Allied, but that he has not been aiming to
prevent industry peace.
I may add that the exhibitors have as much right to
engage an attorney to advise the officers of their organiza-
tion as have the producers. The producers engaged Mr.
Will H. Hays, a cabinet officer and a lawyer, to advise
them; Allied engaged Mr. Myers. Mr. Hays has done his
work conscientiously for those who have employed him ;
Mr. Myers has done his work for the exhibitors as con-
scientiously, if wc are to judge by the esteem in which he
is still held by them. It is my belief, therefore, that, if any
fault were to be found with any one in Allied for the results
of the recent trade practice conferences, it should be found
with the entire membership, or at least with the board of
directors, and not with Mr. Myers alone.
TAKE THE "SMASH BOX-OFFICE HITS"
REPORTS WITH A GRAIN OF SALT
This paper expresses no less joy than is expressed by
distributors when one of their pictures makes a great box-
office hit, and they herald the fact through the trade papers
with blazing headlines ; what it finds fault with is when
some other factor is the box-office magnet and the distribu-
tors attribute the "unprecedented" business to the virtues
of the feature picture.
It is a well known fact, at least in this territory, that,
whenever the distributors feel that they have a "dud," they
invariably pair it either with some well known screen star,
or with a popular band. The box-office bulge is owed,
therefore, to a large extent to the drawing powers of the
side attraction.
Whenever you read in the trade papers that such-and-
such a picture has "smashed" the box office of the New
York theatre where it has played, make sure to find out
what was the side attraction ; very often you will be
surprised.
AN EXHIBITOR DRIVE FOR NATE
BLUMBERG OF UNIVERSAL
It is no longer news when a film company conducts a
drive in honor of one of its executives — such drives are
held with clock-like regularity, but it is decidedly news
when exhibitors start a drive for the executive of a film
company, for up to this time such a drive has not taken
place.
Several prominent exhibitors, independent as well as
affiliated, are conducting a drive for Nate Blumberg, presi-
dent of Universal. And the drive is conducted with zeal, if
one is to judge by the results the Universal Home Office
has received, as Mr. Matthew Fox, assistant to Mr. Blum-
berg, announced to a group of trade paper men at a luncheon
on Tuesday last week.
Nate Blumberg became president of Universal about one
and one-half years ago, and during this time he has been
able, not only to save the company from extinction, but
also to show a profit. There was a time when it was doubtful
whether he could save the company, but his personality
inspired so much confidence that not only bankers, but even
exhibitors, came to his rescue, by advancing him money
with which to carry on production.
Universal, not only has weathered the storm because of
the hard work of Nate Blumberg and of those with whom
he has surrounded himself, but is well on the way to oc-
cupying front rank among the major companies. Matthew
Fox anounced that, by September 1, there will be fourteen
pictures ready for release, some of them of big caliber.
This should be good news for every exhibitor.
It is to show their appreciation and to encourage him to
continue forging forward that the exhibitors have under-
taken to conduct this drive for him.
Harrison's Reports hopes that the drive will be
successful.
TRUST ACTION AGAINST MORE
INDEPENDENT THEATRE
CHAINS
You have undoubtedly read of the additional two suits
that the Department of Justice has started against the
Schine Circuit, with headquarters at Gloversville, New-
York State, and of the Crescent Circuit, with headquarters
in Memphis, Tennessee, making the major companies co-
defendants.
Evidently the U. S. Government is bent upon freeing the
industry from such practices as put the circuits, inde-
pendent as well as affiliated, in a privileged position.
If the Government continues the policy, Harrison's
Reports sees coming the day when pictures will he sold to
tlie highest bidder instead of to those who own large num-
bers of theatres first, compelling the subsequent run thea-
tres to wait until the films have been milked dry. When
that day comes it will be ability that will count and not
buying power.
130 HARRISON'S REPORTS August 19, 1939
"Mr. Wong in Chinatown"
with Boris Karloff
(Monogram, August 1 ; time, 70 min.)
This is the best of the three pictures thus far produced in
the "Mr. Wong" series. It has fast action, some comedy
touches, and a mystifying plot, all of which result in good
program entertainment, with mass appeal. One is held in
suspense because of the constant danger to Boris Karloff,
the detective, who solves the murders after many exciting
experiences. The romance between the police inspector
(Grant Withers) and the newspaper reporter (Marjoric
Reynolds) is continued : —
A Chinese princess, who had called on Karloff for an
interview, is killed by a poisoned dart blown through
the window before Karloff could talk to her. He calls
for the police inspector (Withers), and together they start
investigating the case. They learn that the princess had
arrived in America with a large sum of money to purchase
aeroplanes for the Chinese army. During their investiga-
tions, two more persons are killed. Karloff's suspicions
center on three persons — the banker with whom the prin-
cess had deposited the money, the Captain, whose boat she
was to use to transport the aeroplanes, and the aeroplane
manufacturer. Karloff finally proves that the banker was
the murderer ; he had used the money to cover his short-
ages at the bank and then had committed the murders.
Hugh Wiley wrote the story, and Scott Darling, the
screen play ; William Nigh directed it, and William T.
Lackey produced it. In the cast are Peter George Lynn,
William Royle, Huntley Gordon, Lotus Long, and others.
The murders make it unsuitable for children. Suitable
for adolescents and adults. Class B. Action fast.
"When Tomorrow Conies" with
Irene Dunne and Charles Boyer
(Universal, August 11 ; time, 90 mitt.)
The story is not so strong as it should have been for a
pair of popular and capable players such as are Irene Dunne
and Charles Boyer, but the artistic acting of these players,
coupled with Mr. Stahl's tine direction and with the realis-
tic settings, compensate for that shortcoming. The picture
should appeal well to cultured picture-goers, but because
of the good title, and of the fact that this picture follows
"Love Affair" with the same leading players, which pleased
so much those who saw it, it should draw big crowds. Part
of the background is a hurricane ; it is so realistic that one
is held almost breathless. One is in sympathy with the
heroine, who becomes involved in a love affair that brings
the hero, as well as her. unhappiness : —
Irene Dunne, a waitress, becomes acquainted with
Charles Boyer, a customer, who wins her attention by his
gentlemanly manners. He follows her to a meeting hall,
where the waitresses had gathered to vote on a strike ; her
poise and intelligence win his admiration. After the meet-
ing, they walk and talk, and arrange to meet the next day.
He takes her for a sail, but when clouds begin to gather,
they decide to go back; they arrive at his beach home just
in time to avoid a downpour. She finds out that he was a
famous pianist, and, although she notices pictures of a
woman in the house, she asks no questions. Even though
the storm had reached the proportions of a hurricane, she
decides that it would be best to leave ; she asks Boyer to
take her home. After travelling by car for a short distance,
their car is struck by a tree; they rush to a nearby build-
ing, which is a church, where they take refuge for the
night They find, on awakening the following morning, that
the church was partially flooded ; a rescue party takes them
t'. the station, where Boyer finds his family. After express-
ing his love for Miss Dunne, he tells her he was married.
When she meets his wife (Barbara O'Neill), who, since the
death of her baby, was mentally unbalanced, she under-
stands what Boyer must have suffered; she forgives him.
After a dinner together, they part, Boyer leaving for
Europe with his wife, and Miss Dunne continuing with her
work.
James M. Cain wrote the story', and D wight Taylor, the
screen play; John M. Stahl directed and produced it. In
the cast are Onslow Stevens, Nydia Wcstman, Fritz Feld,
and Nella Walker.
Morally suitable for all. Class A. Tempo somewhat slow.
"Quick Millions" with Jed Prouty
(2Qth Ccntury-l:ox 11939-40], August 25; time, 01 min.)
This is just a fair addition to the "Jones Family" series.
Again they are taken away from their home surroundings,
this time for adventures in Arizona, where they go to
examine the value of a gold mine willed to them, the first
half is pretty good, providing a laugh a minute ; this is due
mostly to the antics of Eddie Collins, who amuses one
heartily by bis mannerisms. Hut during the second half, the
action becomes quite silly and at times it is forced. It does,
however, hold one in fair suspense: —
Just as Prouty returns from Hollywood with his family,
he receives a telegram notifying him that the family had
inherited a gold mine in Arizona ; also that it was impera-
tive ior them to reach Arizona in four days so as to claim
it. Without stopping to rest, they start off in their trailer,
arriving m Arizona m time. The lawyer (Collins) offers to
guide tnem to the property, where they find a ramshackle
hut in which they are compelled to live. Ihey are unaware
that a dangerous criminal, who was being sought by the
police, was making his headquarters at the same place, and
tiiat he was hiding in the cellar. A henchman of the gang-
ster's, posing as a professor, pretends to examine the mine
for Prouty ; he informs him it is worthless. Prouty decides
to sell (jut to George Peter Lynn, another henchman, who
had offered to buy it for $1,500. But his sons prevent him
from doing so, for they believed they had discovered gold,
which, it develops, was just an old watch charm. In the
meantime, Prouty is passed some of the stolen money held
by the gangster, which one of the gang had slipped into his
pocket, taking his own money in exchange. He finally
proves his innocence and is directly responsible for captur-
ing the criminal. He receives a reward, and is happy to
leave with his family for home.
Joseph Hoffman and Buster Keaton wrote the story, and
Joseph Hoffman and Stanley Rauh, the screen play;
Malcolm St. Clair directed it, and John Stone produced it.
In the cast are Spring Byington, Ken Howell, George
Ernest, June Carlson, Florence Roberts, Billy Mahan,
Robert Shaw, and others.
Suitability, Class A.
"Island of Lost Men" with Anna May Wong
and J. Carrol Naish
(Paramount, July 28; time, 63 min.)
This jungle melodrama is fair program entertainment.
The story is not particularly novel ; but it holds one's in-
terest fairly well because of the constant danger to the
heroine. The closing scenes, which show a native uprising,
are the most exciting. Eric Blore supplies the comedy touch,
which is a welcome relief, for most of the action is heavy.
The romance is of minor importance : —
J. Carrol Naish, who made his headquarters in the
jungle, rules over the natives, forcing them to do work that
brought him wealth. He is assisted by a few white men who
lived there not because they liked it but because it was the
only means of escape from the police. Anna May Wong, a
cafe entertainer, induces Naish, who was making one of his
stops in town, to permit her to return to his jungle head-
quarters with him, pretending that the police were after
her. But her real motive in going was to try to find her
father, a high Chinese official, who had been kidnapped by
Naish and robbed of $300,000, the property of his govern-
ment. It develops that Anthony Quinn, one of Naish's men,
was really a secret service agent who, too, was looking for
Miss Wong's father. Miss Wong finds the money ; she
steals it and hides it, without Naish finding out about it. To
the jungle comes Broderick Crawford, who knew about the
theft He insists that Naish give him $150,000 as a price
for his silence. Naish tries to murder him, but fails in the
attempt. Quinn finally finds Miss Wong's father and hides
him in a boat ; his plan was to get Miss Wong to the boat
and then escape with them. Naish tries to stop them. But
one of the white men, who had gained control over the
natives, helps them to escape and to take the money with
them. The natives rise against Naish, killing him and all
the other white men.
Frank Butler and Norman R. Raine wrote the story, and
William R. Lipman and Horace McCoy, the screen play ;
Kurt Neumann directed it ; in the cast are Ernest Truex,
Rudolf Forster, W'illiam Haade, and others.
Unsuitable for children. Adult fare, will pass for adoles-
cents, too. Class B. Tempo, somewhat slow until the end.
August 19, 1939
HARRISON'S REPORTS
131
'The Old Maid" with Bette Davis,
Miriam Hopkins, George Brent
and Jane Bryan
(First National [19.59-40], September I ; time 95 min.)
A powerful woman's picture. A lavish production, capa-
ble performances, and intelligent direction make it a picture
of distinction. The story is not cheerful ; but it is one that
constantly plays upon the emotions, very often bringing
forth tears. In spite of the fact that there is little action,
most of the story being devoted to the emotional conflict
between two women from their late teens to past middle-
age, discriminating persons will find the plot developments
absorbing. Audiences that demand action may, however,
find it a little slow-moving. The illegitimacy angle has been
handled so carefully that it in no way offends one. The
action starts in 1F61 : —
On the day of her marriage to wealthy and socially
prominent James Stephenson, Miriam Hopkins receives
word that her former fiance (George Brent) was returning
to marry her. She induces her cousin (Bette Davis) to see
Brent and break the news to him. Miss Davis, who had
always loved Brent, is happy to have the opportunity of
being with him. But he insists on seeing Miss Hopkins;
not even his presence, however, can swerve her from her
determination to marry Stephenson. Brent leaves the house
in a downcast mood; Miss Davis follows him. The follow-
ing day he leaves for the war, having enlisted in the Union
Army ; he dies in service. Miss Davis goes away for a time,
no one suspecting that it was to give birth to her child and
Brent's ; when she returns she opens a nursery for under-
privileged children, her purpose being to be able to care for
her own child without anyone suspecting the truth. Miss
Davis becomes engaged to Jerome Cowan, Stephenson's
brother. On the day of her marriage she reveals the truth
to Miss Hopkins, who is shocked. Miss Hopkins stops the
wedding by telling Cowan that Miss Davis was suffering
from tuberculosis. After her husband's death, Miss Hop-
kins induces Miss Davis to bring her child to her home,
both to live there with her. As the child grows up she (Jane
Bryan) gives all her love to Miss Hopkins, for Miss Davis,
who did not want the girl to suspect anything, was unduly
strict and harsh with her. Miss Hopkins, in order to give
Miss Bryan, whom she loved dearly, a chance in life,
adopts her and settles a large sum of money on her. The
night before Miss Bryan's marriage to a wealthy society
man, Miss Davis feels impelled to tell her the truth, but
Miss Hopkins pleads with her not to do so. Following in-
structions from Miss Hopkins, Miss Bryan, just before
leaving for her honeymoon, gives her last kiss to Miss
Davis, who, for the first time, is happy.
The plot was adapted from the play by Zoe Akins and
the novel by Edith Wharton ; Casey Robinson wrote the
screen play, Edmund Goulding directed it, and Henry
Blanke produced it. In the cast are Donald Crisp, Louise
Fazenda, William Lundigan, Cecilia Loftus, and others.
It has been handled discreetly enough to make it suitable
for all. Class A.
"Night Work" with Charles Ruggles
and Mary Boland
(Paramount, August 4; time, (A min.)
This domestic comedy is suitable program fare for neigh-
borhood theatres. Discriminating audiences may find the
story silly and the action slightly boresome. Even in neigh-
borhoods, its appeal will be directed mostly to those who
enjoy comedies of the nerve-racking type; for instance, in
one situation a young boy dangles at the side of a building,
seated on a small scaffold seat ; he falls from the seat,
thereafter hanging on to the rope until he is rescued. People
will be held breathless in these scenes. The situation be-
comes even sillier, but yet it should hold people as breath-
less, when Charles Ruggles is compelled to go to the boy's
rescue. Sensitive persons may get a sick feeling watching
this. That the story manages to have a few touching mo-
ments is due entirely to the talents of the leading players : —
Charles Ruggles and Mary Boland eagerly await the
arrival of Clem Bevans, grandfather of Donald O'Connor ;
they needed his permission to adopt Donald. Bevans, a
daring steeplejack, demands proof of Ruggles' courage, for
he did not want Donald to be brought up as a sissy. Miss
Boland, knowing that Ruggles was a timid soul and, fear-
ing that they might lose Donald, makes up stories of
Ruggles' courage, which Bevans believes. But Bevans
finally learns the truth, when a former school friend of
Ruggles arrives and laughingly discloses the fact that
Ruggles had been known as a coward; Miss Boland is
compelled to admit the truth, but pleads with Bevans to
allow her to keep Donald. He refuses, ordering Donald to
get his things ready to leave. But Ruggles proves himself
a real hero when he saves his young adopted son (Billy
Lee), who was dangling from a scaffold. Bevans then
gladly gives his consent to the adoption.
Monte Brice, Lloyd Corrigan, and Lewis R. Foster
wrote the original screen play ; George Archainbaud di-
rected it, and William H. Wright produced it. In the cast
are Joyce Mathews, John Hartley, and others.
Suitability, Class A. Tempo fairly fast.
"The Girl from Rio" with Movita
and Warren Hull
(Monogram, August 7 ; time, 62 min.)
This should go over fairly well in neighborhood theatres.
Even though the story is routine and the plot developments
obvious, it manages to hold one's attention to a fair degree
because of the sympathy one feels for the heroine. And
Movita, who plays the heroine's part, is not only attractive
but sings well. The romance is mildly pleasant : —
Just when Movita was to make her singing debut in Rio,
she receives a cablegram from New York informing her
that her brother had been arrested and was being held on a
murder charge. Helped by a friend (Warren Hull), she
takes the first plane out. Upon arriving in New York, she
gets in touch with the young lady who had sent her the
cablegram and learns that she was married to her brother.
From what Movita finds out, she realizes that her brother
had been framed by the owner of the cafe in which he and
his wife had worked. Hull arrives in New York, eager to
help Movita obtain the information she needs to prove her
brother's innocence. He obtains an engagement for Movita
in the cafe owned by Clay Clement, the man responsible
for her brother's imprisonment. Just when she was in a
position to obtain the information, Kay Linaker, Clement's
jealous girl friend, discovers her identity and passes the
news on to Clement, who plans to kill Movita. But Hull
arrives in time with the police to trap Clement and to prove
that he, and not Movita's brother, had set fire to his
former cafe. Clement is arrested, and Movita's brother
released.
Milton Raison and John T. Neville wrote the story and
screen play ; Lambert Hillyer directed it, and E. B. Derr
produced it. In the cast are Alan Baldwin and others.
Suitability, Class A.
"Playing with Dynamite" with Jane Wyman
and Allen Jenkins
(IVarner Bros., August 12; time, 59 min.)
The only difference between this and the previous
"Torchy Blane" pictures is the change in the leading play-
ers ; otherwise, the story follows the formula employed in
this series. In spite of the fact that the story is far-fetched,
it is pretty good program fare, for it has action, some
thrills, and occasional comedy bits. The closing scenes are
the most exciting: there the heroine's identity is discovered
by the villain and her life endangered : —
When Jane Wyman, a newspaper reporter, discovers that
Sheila Bromley, girl friend of a notorious criminal wanted
by the police, was in jail, she decides to get into jail herself
and try to obtain information from her. By committing
minor offenses, she is arrested and placed in jail. Miss
Wyman saves Miss Bromley's life by preventing another
prisoner from stabbing her ; for this she wins her friendship
and thanks. They escape from jail and hide out in an
apartment, where they receive a visit from the criminal.
Miss Wyman manages to get word to Jenkins, her police
sergeant fiance who poses as a racketeer. He arrives at the
apartment when the criminal is there. One of the gangsters
recognizes him and tips off the criminal, who orders his
men to take Jenkins for "a ride." Jenkins manages to es-
cape and to rush to Miss Wyman S aid. He captures the
criminal. Miss Wyman is thankful, and delighted that
Jenkins had had an opportunity to display his bravery.
Scott Littleton wrote the story, and Earl Snell and
Charles Bclden the screen play ; Noel Smith directed it,
and Bryan Foy produced it. In the cast are Tom Kennedy,
Joe Cunningham, Eddie Marr, Edgar Decring.
Morally suitable. Gass A.
•Released as TORCHY PLAYS WITH DYNAMITE.
132
HARRISON'S REPORTS
August 19, 1939
CELEBRATING THE INDUSTRY'S
FIFTIETH ANNIVERSARY
Because of constant urging, the producers have decided
to celebrate on the first week in October the industry's
Fiftieth Anniversary, for the purpose of stimulating busi-
ness. And it may be extended by each exhibitor to a month,
or even longer.
There may be differences of opinion between exhibitors
and distributors as regards distributor sales policies, but
there can be no such a difference when it comes to making
an effort to get more buisness.
The present drive is not conducted on the pattern of last
year's ; there are no prizes offered, and the exhibitors are
"not asked to contribute money for the campaign : all they
are asked to do is to read carefully the instruction pam-
phlet that has been sent to them ; it has been prepared by
Messrs. Kenneth Clark and Joel Swensen, of the Hays
office. It is a modestly gotten together booklet, with no
suggestions to the exhibitor to fly to the moon.
Harrison's Reports recommends that every exhibitor
read this manual and follow as many of the suggestions as
he possibly can.
If you have failed to receive a copy, write for a copy
either to one of the exchanges you are dealing with, or the
Motion Picture Producers and Distributors of America,
25 West 43rd Street, New York, N. Y,
STORY FORECASTS FOR THE 1939-40
SEASON
RKO (Radio Pictures)
(Continued from last week)
"PINOCCHIO," adapted from the Collodi version of a
legend that existed long before the author, who used the
name also of Lorenzini, wrote the book (in 1870). A puppet
show of the same name toured Europe for centuries before
it was written in book form. The circulation and gross
sales of the Collodi version, printed in almost every lan-
guage in the world, reached staggering figures, running
into millions. It has been reprinted so many times that some
of the public libraries carry as many as thirty-three ver-
sions, illustrated by different artists, as well as printed
without illustrations. In this country alone, "Pinocchio"
has been dramatized by six different versions, one of them
having been produced by the Federal Theatres Project only
a few months ago.
Comment : The book lends itself excellently to a cartoon
feature. There is considerable comedy, and one feels sym-
pathetic toward Pinocchio during his adventures.
Forecast: Mr. Disney will undoubtedly duplicate the suc-
cess he attained with "Snow White," his first cartoon
feature. It is a sure bet.
"TOM BROWN'S SCHOOL DAYS," to be produced
by Towne & Baker, from the old novel by Thomas Hughes,
dealing with a somewhat unruly school boy who enters
Rugby. His associations at Rugby eventually make a differ-
ent boy out of him. The boy, after graduation, enters
Oxford. Two years afterwards he returns to Rugby to pay
homage to his old schoolmaster, who lies dead.
Comment : "Good Bye, Mr. Chips" has shown what can
be done with a school story. In this one, too, there is
plentiful human interest, and the action keeps one's atten-
tion all the time. The only drawback is the fact that it has
no romance, but the producers will undoubtedly provide the
story with one.
Forecast: With proper handling, this story should make
a good picture, with its box office results depending half on
the fame of the book and half on the popularity of the
players that will be assigned to the leading parts. It is a
good bet in any event.
"VIGIL IN THE NIGHT," the novel by Dr. A. J.
Cronin, author of "The Citadel," with George Stevens
directing, a drama of self-sacrifice, dealing with a heroine,
a nurse in charge of a small hospital, who, in order to save
her younger sister, who was studying to be a nurse, from
being expelled for carelessness, resulting in the death of a
patient, takes the blame upon herself. She is discharged and
goes to Manchester to work in another hospital. There, she
saves the life of a wealthy manufacturer and wins the
friendship of the brain surgeon. The two, working in har-
mony, save many a life. Soon afterwards she goes to the
manufacturer's home to nurse his wife. The manufacturer
proposes that she become his mistress and while she was
repulsing him his wife enters. Then the manufacturer
cowardly allows his wife to have the heroine discharged
from the hospital for improper conduct. Through the sur-
geon's efforts she obtains another position, in London, and
makes rapid progress. The heroine's sister, after graduat-
ing as a nurse, works in a place of bad repute. She is
arrested and tried but she is saved by the testimony of the
surgeon. By this time the surgeon and the heroine are in
love with each other. The heroine and her sister go to
Wales to fight an epidemic. There the younger sister dies,
after redeeming herself. The manufacturer, too, repents for
his cowardly behavior after the heroine had saved his
niece's life, and apologizes to her. The surgeon and the
heroine at last admit their love for each other.
Comment : This is powerful story material. There is
action, and the interest is held tense by the doings. There
is deep human appeal, too. Who can help admiring a person
who will sacrifice her own reputation and endanger her
livelihood for some one else? The sister's eventual redemp-
tion through self-sacrifice is moving. The romance is
charming.
Forecast : The picture should turn out very good to
excellent, and since Carole Lombard will take the leading
part, with Anne Shirley in the part of her sister, the box
office results should be of the same degree.
PARAMOUNT
"THE CAT AND THE CANARY," a spooky story,
founded on the John Willard stage play of the same name,
with Bob Hope and Paulette Goddard.
Comment : This play was produced once before, by Uni-
versal, in 1927, at which time sound had not yet come into
existence. It turned out an excellent mystery picture, and
made a good success at the box office.
Forecast : According to the Hollywood trade papers, the
picture has been already produced, and will soon reach
East. If Paramount has produced it with the same care as
Universal, there is no reason why the picture should not
turn out excellent.
"DISPUTED PASSAGE," the Lloyd Douglas novel,
with Dorothy Lamour, Akim Tamiroff and John Howard,
a drama revolving around surgeons and hospitals, with the
hero, a famous surgeon, who is fond of his assistant, a
young man, because he sees a brilliant future in him, until
he meets and falls in love with a young white girl, who had
been born and reared in China. He persuades the girl to let
the young doctor alone for the sake of his future. The girl
departs abruptly, leaving a note behind her. The young
doctor learns from his superior that it was he who had
induced the girl to give him up and to leave for China and,
denouncing him. goes to China to find her. A raid by Japa-
nese bombing planes wounds him so severely that the hero-
surgeon is informed of it and he speeds to China to perform
the operation that would save his life. He reaches him and
performs the operation, but the young doctor does not show
a will to live until the girl, having heard of his wounding,
flies to his side. The young doctor then recovers.
Comment : There is deep human interest in the story, and
the action is fast, keeping one's attention pretty tense at
all times.
Forecast : The material is such as to make a picture of
either very good or excellent quality, and with the popu-
larity of Dorothy Lamour, aided by that of Akim Tamiroff,
it should draw equally well at the box office.
"THE DOUBLE-DYED DECEIVER," with Tito
Guizar, Emma Dunn and Alan Mowbray, — a western melo-
drama dealing with a young Texas desperado who, in order
to rob a wealthy Mexican woman of her wealth, poses as
her long-lost son. Her kindness and love reforms him and
when he finds out that one of the men he had killed was her
son he decides to continue the impersonation indefinitely.
Comment : This was first produced in 1920 by Samuel
Goldwyn. It turned out a pleasing picture. The action is
fast, and there is human interest in the story. The reforma-
tion of the young desperado and his decision to be a real
son to the woman whom he had set out to rob are in accord
with the spectator's desires.
Forecast : The story should make a fairly good to good
picture, with fair box-office results.
(To be continued next week)
Entered a« eeoond-elus matter January 4, 1921, at the post oAh at New York, New York, under the aot ef March J, 187S.
Harrison's Reports
Yearly Subscription Rates: 1270 SIXTH AVENUE Published Weekly by
United States $16.00 Xis+nm Harrison's Reports, Inc.,
U. S. Insular Possessions. 16.50 IVOOm lOl^ Publisher
Canada 16.50 New York, N. Y. P. S. HARRISON, Editor
Mexico, Cuba, Spain 16.50 . .. _. n . .
Great Britain 15.75 A Motion Picture Reviewing Service ....
Australia, New Zealand, Devoted Chiefly to the Interests of the Exhfbitors Established July 1, 1919
India, Europe, Asia .... 17.50
■>K/> Q r„nv Ils Editorial Policy : No Problem Too Big for Its Editorial Circle 7-4682
ooc a. K*oyy Columns, if It is to Benefit the Exhibitor.
A REVIEWING SERVICE FREE FROM THE INFLUENCE OF FILM ADVERTISING
Vol. XXI SATURDAY, AUGUST 26, 1939 No. 34
MOTION PICTURE CODE ILLEGAL!
Every one of you knows by this time, I am sure, that the
Department of Justice has declared the Fair Trade Prac-
tices Code "illegal and unreasonable restraint of trade."
The following is a copy of the letter that Mr. Thurman
Arnold, Assistant Attorney General, sent on August 17 to
die attorneys representing the major companies:
"On behalf of certain major motion picture companies
who are defendants in the case of United States v. Para-
mount Pictures, Inc., et al., you submitted to the Depart-
ment of Justice a draft of a Trade Practice Code and
asked for an expression of the Department's views.
"The Code assumes that the present organization of the
motion picture industry is legal and that divestiture of
exhibition and distribution is unnecessary. It therefore
completely ignores the position taken by the Government
in the pending litigation against the major companies. It
also ignores the repeated statements of prosecution policy
with respect to the moving picture industry made by the
Department.
"The proposed Code is, in effect, an elaborate set of trade
practice provisions superimposed upon a combination of
producers, distributors, and exhibitors which the Depart-
ment contends is an illegal and unreasonable restraint of
trade. While the Code appears to be voluntary the prac-
tical effect of its adoption under existing conditions might
be to compel independents to comply in order to survive.
"In addition to the illegality of the Code in tailing to
provide for divestiture of production and distribution from
exhibition, various specific provisions of the Code are di-
rectly challenged by the Government in the pending litiga-
tion against the major companies.
"The Department therefore reaffirms the position which
it has consistently taken since proceedings against the
motion picture companies were commenced, to wit, that
divestiture of distributors and producers from the exhibi-
tion branch of the industry must be obtained.
"The economic effects of the present illegal combinations
were set out bv the Department in its release of July 20,
1938, as follows :
"1. Independently owned theatres are being driven out
of business because of the onerous and discriminatory con-
ditions not only on the rental of film but with respect to
other trade practices. At the present rate at which inde-
pendently-owned theatres are being driven to financial
failure, it will only be a question of a short time before
tiierc are no independents left in the field.
"2. New competitors who attempt to enter the field of
motion picture exhibition find it almost impossible to
secure film for exhibition on any reasonable and non-
discriminatory basis. The result is that there is practically
no effective new competition.
"3. Those independently owned theatres that have man-
aged to date to survive are compelled, in order to get pic-
tures, to operate under terms which leave them very little
freedom in the selection of film and in the management of
their own business.
"4. Independent producers find it practically impossible
to secure a satisfactory market for their film because of
the domination by the major companies over the exhibition
houses. These independent producers arc up against an
almost hopeless bargaining disadvantage in securing mar-
kets for their film in exhibition houses that are controlled
by the major producers with whom the independent pro-
ducers are trying to compete.
"5. New capital investment in the motion picture business*
is discouraged because of the great difficulty of competing
an a fair basis with the major companies, either in produc-
tion or exhibition, so long as the major companies control
the principal markets for film.
"6. Theatre patrons in any given community are not
given an opportunity to exercise choice as to the type of
pictures they desire to see. Under present conditions it is
impossible for community taste to find expression through
a locally owned theatre free to bargain for the type of films
its patrons wish. As matters now stand, each community is
regimented into accepting the kind of picture which will
make the most profits on a nation-wide scale.
"7. There is no opportunity for new forms of artistic ex-
pression which are not approved by those in control of the
major companies, even though there exist communities
which would support them.
"These conditions in the opinion of the Department will
not be remedied by the proposed Code. It is based upon a
structure of the industry which the Department expects to
show is in clear and open violation of the Sherman Anti-
trust Law.
"Therefore, the Department in order to make its prose-
cution policy clear is compelled to announce that the adop-
tion of the Code dated August 10, 1939, by the motion pic-
ture industry can only lead to continued and perhaps addi-
tional prosecutions."
The major companies were stunned when they received
this letter. Trade paper reporters tried to get interviews
with the heads of the companies but they could not get an
expression of opinion from them.
On August 18, Mr. W. F. Rodgers, acting chairman of
the distributor committee, issued the following statement :
"The committee that worked on the code has not lost
one single bit of faith in it. The}' believe thoroughly that
it can be of tremendous value to the industry and will tend
to solve a great many of the difficulties which have arisen.
We still hope to persuade the government that the code
should be put into effect."
The action of the Department of Justice naturally justi-
fies the attitude that Allied assumed toward the reform
proposals submitted to it by the distributors, and puts the
trade papers, which tried to make Allied appear as if it
consisted of a group of intransigeant exhibitors, in a very
embarrassing position.
NATIONAL ALLIED EXPELS NEW
YORK ALLIED FROM ITS RANKS
The following statement was issued by the Washington
office of Allied States Association on August 17:
"RELATIONS SEVERED WITH NEW YORK
ALLIED
"Recently a member of the Board of Directors moved
that all relations between Allied States Association of
Motion Picture Exhibitors and Allied Theatre Owners of
New York, Inc., be severed. The directors were polled by
mail, as provided by the by-laws, and the motion was
carried.
"GROUNDS FOR ACTION
"Three grounds were cited by the directors for their
support of the motion :
"1. Failure of the New York organization to discharge
its obligation to support the National Association;
"2. Acting contrary to the policies of Allied States
Association ; and
"3. Failure to curb attacks upon and criticisms of Na-
tional Allied and its policies by the President and
Counsel of the New York organization,
all in violation of Article V, Sec. 2, of the Constitution.
{Continued oh last Page)
134
HARRISON'S REPORTS
August 26, 1939
"The Angels Wash Their Faces" with the
"Dead End" Kids, Ann Sheridan
and Ronald Reagan
(First National, August 26; time, 85 mimi.)
Very good. Although the story is far-fetched, the melo-
dramatic action is exciting, holding one's attention well
throughout. In addition, there is plentiful comedy, of the
type to provoke hearty laughter. For instance, the situations
in which the "Dead End" kids, who, in a boys' week con-
test, had been appointed to city administration positions,
take over their posts with the idea of doing as they pleased,
should prove extremely amusing to spectators. A few situa-
tions touch one's emotions ; particularly touching is the
situation that shows a crippled boy trapped in a burning
building. '1 he romance is incidental : —
When Frankie Thomas is released from a boys' reforma-
tory, his sister (Ann Sheridan) moves to another neigh-
borhood, so as to keep him away from bad companions.
When he becomes acquainted with the "Dead End" kids
and shows them that he could fight, they make him a
member of their club. Several fires break out in the neigh-
borhood and the police become suspicious; they feel certain
that a criminal gang was causing the fires. Thomas incurs
the enmity of one of the gangsters working for Kduardo
Ciannelli, who was head of the arson ring. No one sus-
pected that Ciannelli was connected with the gangsters, for
he had always posed as an upright citizen. Another fire
breaks out, during which a young boy dies. The gangsters,
who had started the fire, frame Thomas, making it appear
as if he had started the fire because of a grudge. Thomas is
arrested, tried, and convicted. His pals decide to get at the
bottom of things. Their chance comes when Billy Halop,
who had won first place in a boys' contest, is appointed
Mayor for a week. They try to free Thomas but naturally
are unsuccessful. Helped by Ronald Reagan, assistant
district attorney, who loved Miss Sheridan, they trap the
two gangsters responsible for the fires, and force them to
talk. They are thus able to break the case, and to win
Thomas' freedom. Miss Sheridan is overjoyed; she later
marries Reagan.
Jonathan Finn and Niyen Eusch wrote the story, and
Mr. Busch, Robert Buckner, and Michael Fessier, the
screen play; Ray Enright directed it. and Max Siegel pro-
duced it. In the cast are Bonita Granville, Henry O'Neill,
Jackie Searle, and others.
Suitability, Class A. Action fast.
"Lady of the Tropics" with Robert Taylor
and Hedy Lamarr
(MGM, August 11 ; time, 91 min.)
This should prove a sensational box-office attraction,
considering the popularity of the two stars ; but it is strictly
adult fare. It doesn't matter that the story is somewhat
sordid, and that the action is slow; what counts is that the
stars are hardly ever off the screen, that they make an
engaging romantic team, and that audiences will rave anew
about Hedy Lamarr's beauty. Not only has she been photo-
giaphed exceptionally well, but she is dressed in the most
glamorous type of clothes, the kind that women will rav?
about. Miss Lamarr may not be the best actress on the
screen, but she certainly is one of the most f as-mating : —
Taylor, a playboy, guest on a yachting trip with a wealthy
American family, meets, upon their arrival in Indo-China,
Miss Lamarr, a half-caste, companion of Joseph Schild-
kraut, also a half-caste, but the richest man in town. Taylor
and Miss Lamarr fall madly in love with each other and
marry. This infuriates Schildkraut, who was in love with
Miss Lamarr passionately; he is determined to win her
back. He starts out by using his influence in preventing her
from obtaining a passport. After a few months, during
which time their money runs out, she goes to see Schild-
kraut and gives herself to him on his promise to give her
husband employment, and eventually to obtain a passport
for her. Taylor, knowing nothing of what had happened, is
happy to get a position, and leaves for a month's work in
the jungle. When Taylor returns, he finds awaiting him an
envelope containing a clipping about his wife's bavins;
attended the opera with Schildkraut. He forces her to tell
him everything. Enraged, he sets out to kill Schildkraut.
But Miss Lamarr, who knew that Schildkraut had sent the
clipping in order to turn Taylor against her, thus forcing
her to remain with him, rushes there before him. She kills
both Schildkraut and herself. Taylor is heartbroken.
Ben Hecht wrote the screen play, Jack Conway directed
it. and Sam Zimbalist produced it. In the cast are Gloria
Franklin, Ernest Cossart, Mary Taylor, Charles Trow-
bridge, Frederick Worlock, and others.
Unsuitable for children or adolescents. Adult fare. Class
B. Tempo, slow but action engrossing.
"The Wizard of Oz" with Judy Garland,
Frank Morgan, Bert Lahr, Jack Haley
and Ray Bolger
(MGM, August 25 ; time, 100 min.)
Audiences that have been yearning for something differ-
ent in pictures will find in "The Wizard of Oz" the answer
to their demands. From a production standpoint, it is
something to marvel at, for the settings are not only exceed-
ingly lavish, but also unusually imaginative ; and the
technicolor photography adds to their beauty. The story is,
of course, pure fantasy. But so delightfully has it been
handled, that it directs an appeal both to children and to
adults. Even though some persons are not interested in
pictures of this type, it is possible that they will be eager to
see this picture just for its technical treatment. The per-
formances are good, and the incidental music is of con-
siderable aid. Pictures of this caliber bring credit to the
industry.
The story relates the adventures of Dorothy, a young
girl (Judy Garland), who, during a Kansas cyclone, is
struck on the head by a crashing window, and, while uncon-
scious, dreams that she had been tossed by the cyclone into
the beautiful world of Oz. The first person she meets is the
Good Witch (Billie Burke), who looked after the interests
of the Munchkins (The Singer Midgets), midgets who
lived in fear of the Bad Witch (Margaret Hamilton).
Since Dorothy wanted to get back to Kansas, the Good
\\ itch suggests that she consult the Wizard of Oz (Frank
Morgan), who lived in Emerald City, for directions. On
her way there, Dorothy meets three characters, The Scare-
crow (Ray Bolger), who wanted a brain, The Tin Man
(Jack Haley), who wanted a heart, and the Lion Alan
(Bert Lahr), who wanted courage. She suggests that they
accompany her to Emerald City, for she felt certain that the
Wizard could help them. After many adventures with the
Bad Witch, after which they overpower her, they finally
meet the Wizard who tries to impress them with his im-
portance but who, they learn, was just a fraud. Neverthe-
less he shows each one that they already possessed what
they wanted. Dorothy leaves for Kansas. At this point she
awakens, and finds that the cyclone had passed, and that
her aunt and her friends were at her side reviving her. She
i> happy to be back home.
The plot was adapted from the story by L. Frank Baum.
Noel Langley, Florence Ryerson, and Edgar Allan Woolf
wrote the screen play ; Victor Fleming directed it, and
Mervyn LeRoy produced it. In the cast are Charles Grape-
win, Pat Walshe, Clara Blandick, and Toto the Dog.
Suitability, Class A. Tempo not fast, but the action is
novel.
"Charlie Chan at Treasure Island"
with Sidney Toler, Cesar Romero
and Pauline Moore
(20/A Century-Fox [1939-40], Sept. 8; time, 73 min.)
A pretty good murder mystery melodrama of program
grade. The murderer's identity is so well concealed, that
the audience is kept guessing to the very end. Laughter is
provoked on occasion by the efforts of the detective's young
son to follow in his father's footsteps. This results in many
blunders and in annoyance to all. In addition, there is the
attraction of tricks of magic performed by a few of the
characters involved in the case. The romantic interest is of
minor importance : —
Sidney Toler (Charlie Chan), returning by plane from
Honolulu to San Francisco, is deeply touched by the death
of a fellow passenger, a young author whom he had known
well ; he suspects foul play when he reads a cablegram the
young man had received just before he died. Toler decides
to investigate the case. Helped in his work by Douglas
Fowley, a newspaper reporter, and Cesar Romero, a
magician, his investigations lead him to a well known
practitioner in occultism. But he cannot get any evidence
against him, until one night he breaks into the man's
private quarters, where he finds a safe with documents
showing that this man had been blackmailing not only the
young author, causing him to kill himself, but also many
other persons, supposedly his customers. During the inves-
tigation another man is killed, and attempts are made on
the lives of several others. Toler finally solves the case by
proving that Romero himself was the blackmailer, and that
no one, except his assistant whom he had killed, had known
of his double life. Romero is caught and confesses. Fowley
is happy when the case is solved, for the life of his sweet-
heart (Pauline Moore), a mind reader, had been in danger.
John Larkin wrote the story and screen play ; Norman
Foster directed it, and Edward Kaufman produced it. In
the cast are Sen Young, June Gale, Douglas Dumbrille,
Sally Blane, Wally Vernon, and others.
Not for children. Suitable for adolescents and adults.
Class B.
August 26, 1939
HARRISON'S REPORTS
135
"Behind Prison Gates" with Brian Donlevy
and Jacqueline Wells
(Columbia, July 28; time, 62 min.)
A fair program prison melodrama. The plot develop-
ments are familiar ; nevertheless they should hold the atten-
tion of audiences that enjoy stories of this type, for the
action is fast, affording thrills on several occasions. The
methods employed by Brian Donlevy, a federal agent who
posed as a criminal, to trap the gangsters by pitting one
against the other, are amusing. One is held in suspense
during the closing scenes, — where the gangsters are shown
learning of Donlevy's connection with the federal bureau,
for his life is endangered. The romance is incidental : —
Donlevy, a federal agent posing as a notorious bank
robber, is imprisoned in a state penitentiary. His purpose
was to track down certain bank robbers and to learn from
them where the bank loot was hidden. By pitting two
prisoners, who he knew were connected with the robberies,
against each other, he obtains from them information he
needed. The warden, knowing who Donlevy was, helps him
out when Jacqueline Wells arrives at the prison to see her
brother, the man Donlevy was impersonating. They inform
her that her brother had been killed in a holdup and ask her
to work with them by pretending that Donlevy was her
brother ; she agrees to do this. Eventually Donlevy escapes
with one of the prisoners, who promised to take him to the
hiding place and to share the loot with him. In the mean-
time, the other prisoner escapes. Both escaped prisoners
finally learn about Donlevy's connection with the federal
bureau and plan to kill him. In a gun fight that follows at
the hiding place, both prisoners are killed. Donlevy returns
the loot to the authorities. He and Miss Wells are, by this
time, in love with each other.
Arthur T. Horman and Leslie T. White wrote the
original screen play ; Charles Barton directed it. In the cast
are Joseph Crehan, Paul Fix, George Lloyd, Dick Curtis,
George McKay, and others.
Unsuitable for children. All right for adolescents and
adults. Class B.
"Chicken Wagon Family" with Jane
Withers and Leo Carrillo
(20//t Century-Fox [1939-40] , August 11 ; time, 64 min.)
Suitable only for the most ardent Jane Withers fans. The
story is trite, and the comedy forced. The closing scenes
are particularly silly ; during those scenes, noise is substi-
tuted for comedy, every one in the picture joining in the
shouting. This is more conducive to headaches than laugh-
ter. The players are up against pretty poor material ; that
they manage to win one's sympathy and to provoke a few
laughs is due entirely to their ability :—
Jane, her father (Leo Carrillo), her mother (Spring
Byington), and her sister (Marjorie Weaver), earn their
living by travelling around the country in a mule-drawn
wagon, trading with farmers and selling trinkets. Miss
Weaver and Miss Byington are tired of the life and want
to settle down in a city ; but Jane and her father hold out
against a change. When Jane realizes how hard her mother
had worked to save a few hundred dollars in order to take
her daughters to the city, which money Carrillo had found
and gambled away in a poker game, she insists that her
father move to the city. Once they arrive in the city, Jane
manages to get into difficulties. But she is helped out by
Kane Richmond, a policeman, who falls in love with Miss
Weaver. Richmond permits them to live in an abandoned
fire house, which was soon to be sold at public auction.
Jane accidentally finds a long-lost cousin (Hobart Cav-
anaugh), who had a second-hand furniture business. She
and her father get into difficulties with Cavanaugh because
of their flightiness ; but eventually, through a ruse, Jane
induces Cavanaugh to buy the fire house and to turn it
into a place of business. Everything works out successfully ;
Carrillo and Jane become Cavanaugh's partners.
Barry Benefield wrote the story, and Viola Brothers
Shore, the screen play; Herbert I. Leeds directed it. In
the cast are Hamilton MacFadden, Inez Palange, and
others.
Suitability, Class A. Tempo, fairly fast.
"Hawaiian Nights" with Johnny Downs,
Mary Carlisle, Eddie Quillan
and Constance Moore
(Universal [1939-40], September 15; time, 65 min.)
A good program entertainment ; it has comedy and ro-
mance, in addition to music, which varies from soft
Hawaiian melodies to the typical jitterbug swing songs.
The Hawaiian dances arc well performed by natives. Al-
though the story is not novel, it holds one's attention be-
cause it moves at a fairly fast pace; in addition, the per-
formances are spirited. The formula romance is pleasant : —
In an effort to cure his son (Johnny Downs) of his
desire to lead a jazz band, Thurston Hall, owner of a
chain of hotels, sends Downs to Honolulu to act as assistant
manager at one of the chain hotels. Unknown to his father,
Downs takes along the members of the band, also Mary
Carlisle, a singer, and Eddie Quillan, his manager. He tries
to induce the hotel manager to engage the orchestra, but he
refuses. Downs, who had met and fallen in love with Con-
stance Moore, daughter of the owner (Samuel Hinds) of
a small hotel that was doing poor business, induces Miss
Moore, to allow his band to play there in return for lodg-
ings and food. Hinds, who had gone to see Hall on a busi-
ness deal, returns with the news that he had given him an
option to buy the hotel. But when Hall arrives and finds
his son booked to play there, he tears up the contract. This
works to Hinds' benefit, for Downs' band proves to be a
sensation, assuring the hotel of success. Quillan puts
through a radio deal for Downs and the band, which was to
be sponsored by Etienne Girardot, an eccentric millionaire
who owned a pineapple plantation. Downs and Miss Moore
are happily united.
John Grey wrote the story, and Lee Loeb and Charles
Grayson, the screen play ; Albert S. Rogell directed it, and
Max Golden produced it.
Suitability, Class A.
FORECASTS
(Coiitinu-cd from back page)
Peace is established with all the Indian tribes except the
Apaches, and President Grant orders General Steele to put
an end to their atrocities. He offers Geronimo terms, but
the Indian Chief, advised by a white renegade, refuses a
compromise and is prepared to attack. General Steele's son
arrives at the post, and when his father treats him without
any fatherly sentiment he is heart-broken and resigns. He
sends for his mother and sweetheart, intending to settle in
California. But the Indians attack the stage, kill his mother,
wound his sweetheart, and make the young man a prisoner.
Then the General's heart melts. At the head of a troop he
attacks the Indians and rescues his son and the son's
sweetheart, and takes refuge on an island, where he is sur-
rounded by the Red Skins. Eventually aid comes, and the
Indians are subdued. A more kindly relationship is estab-
lished between father and son. The son marries the girl.
Comment : There is fast action all the way through, and
thrills. There is also deep human interest.
Forecast: If Paramount should produce it as a big pic-
ture, it will no doubt turn out either very good or excellent
in quality, with good to very good results at the box office.
-HAPPY ENDING," a stage play by the McPhersons,
which was produced at the Shubert Theatre, this city, in
1916, playing to only 16 performances. It is a drama, deal-
ing with the wife of an actor-playwright-producer, whose
wife deserts him because he, on the opening night of a new
play, becomes intoxicated, ruining the play ; she had felt
despondent. She goes away to give birth to their child. The
wife becomes a derelict and dies, and the husband becomes
a Broadway has-been, yet proudly refusing help from
friends. Twenty years later he receives a letter from his
daughter in Canada, informing him that she intended to
call on him during her contemplated short visit in New
York. He becomes panicky, but a friend steps in and saves
the situation by setting him up in style. When the daughter
arrives, he sets her up in one of the finest hotels in the city
and showers her with presents. She is charming, and dis-
plays unusual talent for acting. Soon the friend makes
her aware of her father's true situation and when later in
the evening the father shows up she is waiting for him.
Soon she inspires him to return to the theatre. The father
digs up an old play in which he and his helping friend had
acted and, with the daughter in the leading part, left vacant
by the dead mother, the play makes a great success. While
the applause is still on, the father's heart gives out and he
drops dead.
Comment : What a story ! The fact that the play made a
failure docs not mean anything so far as its value for a
moving picture is concerned. There is in it deep human
interest and glamour. The act of the friend in helping the
father set up his daughter in style in one of the finest hotels
in town; the sight of the daughter standing by her father
when she learns what a failure he was ; the father's death
immediately after the success of the old play; — these and
other situations cannot help bringing tears to one's eyes.
Forecast : Paramount has in its hands a rare piece of
property and, if it should produce it in accordance with
what it deserves, it should make with it a picture that will
be remembered; and if actors with fine dramatic ability
were to be assigned in the leading parts there is no reason
why it should not do "killing" business at the box office.
136
August 26, 1939
"ANOMALOUS STATUS OF NEW YORK
ORGANIZATION
"Because of infrequent meetings of the Board of Direc-
tors the Constitution permits an independent regional asso-
ciation to become a member of Allied by subscribing to
the Constitution and by-laws, pending action of the Board
at its next succeeding meeting. The New York association
took this initial step during 1938. At the January meeting
of the Board the New York association was granted tem-
porary membership, permanent membership being condi-
tioned upon its acceptance of a dues quota. A quota was
assigned which the association later asked to have reduced
by two-thirds. It has made no effort to discharge its obli-
gation and has refused to consider the claim of National
Allied for moneys advanced for organization purposes.
Consequently, New York Allied has never been formally
and finally admitted to membership.
"ACTION AMOUNTS TO EXPULSION
"Due to the peculiar status of the New York organiza-
tion, there was some difference of opinion as to whether
the appropriate action would be to expel it or to deny its
application for membership. While its application has
never been formally accepted, the New York association
nevertheless has been allowed representation at Board
meetings and the action of the Board takes the foiin of an
expulsion under Article V, Sec. 2. The organization has
clearly forfeited all right to the privileges of membership.
"ACTION TAKEN WITH REGRET
"The directors regret the necessity for the action taken
for the reason that numerous members of the New York
association have expressed themselves as being out of
sympathy with the efforts of the leaders of the unit to em-
barrass and impede National Allied. Based upon a full
experience, however, the directors are convinced that a
relationship of cooperation and confidence can not exist
between the two bodies so long as Messrs. Cohen and
Kosch control the policies of the New York group."
EXIT LAGGARDS!
A very interesting story appeared in the August 12 issue
of Box Office, on Page 32 ; it is so instructive, and at the
same time so destructive to the arguments that are put
forward by opponents of the Neely Bill, which is designed
to outlaw block-booking as well as blind-selling, that I
asked Red Kami's permission to reproduce it, so that it
may reach the greatest number of exhibitors possible.
"DETROIT — Hollywood's big brains are up to their
necks in new worries over the Neely Bill, but many of the
creators there predict an industry renaissance if the meas-
ure is enacted. Harold Heffernan declares he has discov-
ered in a copyrighted article for the Detroit Nen's and the
North American Newspaper Alliance.
" 'You wouid see the greatest inspirational boom Holly-
wood has experienced since the talking pictures came in.'
he quotes one 'prominent producer whose name cannot be
mentioned.'
"From the same source, this :
" 'Unshackled from block booking, we would be forced
to get down to work. Competition among studios would be
increased ten-fold. Automatically, all the laggards would
take to the outer gates.
" 'Naturally, the most important and immediate improve-
ment would be noted in stories. The bill requires film
companies to display a synopsis of the story to the exhibitor,
as well as a title, before he can be asked to purchase. That
means the end of substituting as we have been doing for
years out here. And the story synopsis must stand up or the
exhibitor might decide his public won't go for it. That
leaves the producer holding the bag — not the exhibitor, as
is the case under the present sales system of job-lotting 50
or more "sight unseen" pictures each year.
" 'This individual and direct method of sale on merit
alone would put it straight up to the studio, the author, the
cast and the director. If any of the group faltered, out they
would go — and I believe it would be in a very great hurry.
All hands, in effect, would be salesmen, obligated to deliver
— or else.'
"At this point, Heffernan steps in with an observation or
two of his own. 'For many years Hollywood has been
severely criticized for not getting the most from its high-
salaried writing departments, conceded to include some of
the most brilliant minds in the literary field,' he states.
'Instead, it has seemed content to follow the easiest route —
depending on purchase of big name stage plays and pub-
lished novels (many unadaptable for movies) and resorting
in too many emergencies to stop-gapping production pro-
grams with old stories produced in screen farm twic« and
even three times before.'
"His unnamed source then further remarks. 'A child
would realize that such a condition is not a healthy one to
be found in the world's leading amusement medium. The
proposed new order would awaken screen writers to their
responsibilities. Possibly, if we had to face realities — real
bread-and-butter competition — we could whip up literary
works in our own writing departments that would compare
favorably with the big-selling books and plays for which
we must now bid exorbitant prices in open market compe-
tition.'
" 'Enactment of the Neely Bill would end that, too,'
believes this individual in discussing remakes released
under new titles which Heffernan says has angered the
public and brought stormy protests from exhibitors forced
to take them in their block purchases. 'Can you imagine a
film salesman calling on an exhibitor and showing him the
synopsis of an old picture his company intends remaking ?
Unless it happened to be the revise of some sensational
smash success, you could just about see the exhibitor
showing the salesman the door with the parting word that
he's no longer buying old stuff for his clientele.' "
Were Mr. Heffernan to have written this article before
the bearings on the Neely Bill had been held so that the
exhibitors might have included them in the record, the ex-
hibitor leaders would have had no better argument in their
effort to convince the Senate Committee, and through it the
entire Congress, that the Neely Bill will prove the salva-
tion of the motion picture industry. Mr. Heffernan, whom
I happen to know personally, is a sound man and would not
have written such an article unless he felt sure that the
views of the producer whose name he withholds were
sound.
For years Harrison's Reports has been preaching, not
only to the exhibitors, but to the entire industry, that the
Neely Bill will not destroy the industry; it will destroy
only the laggards, who, feeling sure that their pictures will
sell, no matter how poor, because of the ready market for
them, exert no effort to improve their product.
Allied should call Air. Heffernan's report of the pro-
ducer's views to the attention of Congress.
STORY FORECASTS FOR THE 1939-40
SEASON
Paramount
(Continued from last week)
"FEDERAL OFFENSE," with Lloyd Nolan, a parole
racket melodrama, with a kidnapping, in which two Fed-
eral men, assigned to the case, succeed by clever work in
capturing the entire gang of racketeers and breaking up
the racket.
Comment : The moral of the story is that society women
should not be tender-hearted toward criminals, by believing
that they are persecuted. In this case, the head of a parole-
racket gang persuades a society woman to use her influence
so that a criminal might be paroled. After the parole, the
criminal is engaged by the society woman as a chauffeur
and when he is unable to pay to the racketeers the necessary
fee the racketeer coerces him into joining his gang in the
kidnapping of the society woman's daughter. The action
holds one's attention pretty tense all the way through, and
one follows the fate of the F.B.I, men with sympathetic
interest. But, like other stories of this types, it is not
edifying.
Forecast : The story should make a good picture of this
type, with fair box office results.
"FRENCH WITHOUT TEARS," the Terence Ratti-
gan play, which was produced at Henry Miller's Theatre,
September 29, 1937, playing to 111 performances. It is a
light comedy, dealing with a group of young Englishmen,
who are learning French from a woman somewhere on the
Southern coast of France.
Comment : The picture has been already produced in
England, with Ray Milland and Ellen Drew. Anthony
Asquith has directed it. The New York critics, when it was
produced on the stage here, did not go ecstatic over it ; they
praised it just mildly. They said that the comedy was more
for English than for American showgoers.
Forecast : In all likelihood the play has made a fairly
good picture. As to its box-office success in this country, it
will undoubtedly prove just a fair attraction because the
leads are not top ranking players.
"GERONIMO," a melodrama of white-Indian strife
during the Presidency of U. S. Grant, to be directed by
Paul H. Sloane, with Preston Foster, Ellen Drew, Andy
Devine, Ralph Morgan and Chief Thundercloud : —
(Continued *n inside P*ge)
Entered as second-class matter January 4, 1921, at the post office at New Tork, New York, under the act of March 3, 1879.
Harrison's Reports
Yearly Subscription Rates: 1270 SIXTH AVENUE Published Weekly by
United States $15.00 R««. 1 »1 O Harrison's Reports, Inc..
U. S. Insular Possessions. 16.50 ROOIH lOIi Publisher
Canada 16.50 New York, N. Y. P. S. HARRISON, Editor
Mexico, Cuba, Spain 16.50 _. _ . . .
Great Britain 15.75 A Motion Picture Reviewing Service P„lWi,h«i J«iv 1 ill 9
Australia, New Zealand, Devoted Chiefly to the Interests of the Exhibitors Established July 1, 1919
India, Europe, Asia .... 17.50
-K,. * rv,nv Its Editorial Policy: No Problem Too Big for Its Editorial Circle 7-4642
aoc-a ^opy Columns, if It is to Benefit the Exhibitor.
A REVIEWING SERVICE FREE FROM THE INFLUENCE OF FILM ADVERTISING
Vol. XXI SATURDAY, SEPTEMBER 2, 1939 No. 35
GRADWELL SEARS A .JUMP
AHEAD OF OTHERS
Gradwell Sears, president of Vitagraph, Inc. (Warner-
First National), has stolen a march on the other distribut-
ing companies ; he has put the provisions of the Code into
effect without requiring the exhibitor to bind himself to
anything. In an announcement that appeared in the trade
papers of August 24, under the heading, "The Merchan-
dising Policy for Warner Bros.' 1939-40 Season," he offers
to the exhibitors the following concessions :
1. Forty-eight pictures.
2. Twenty per cent cancellation of the total number of
pictures licensed, if the film rentals will not average more
than $100, and ten per cent if they should average more than
that amount.
3. Elimination of any feature that the exhibitor might
find offensive to his patrons on religious, moral or racial
grounds.
4. All top-bracket pictures to be played on preferred
playing time.
5. A run for any deserving exhibitor.
6. Protection of old customers by not taking the product
away from them.
7. No forcing of shorts, trailers or reissues.
8. Elimination of score charges.
9. A number of test runs to establish the proper price
allocation of high-bracket pictures, such pictures to be
allocated to test-city exhibitors not later than fourteen days
after their national release date, and to all others when
sending notice of availability.
10. Not to coerce any exhibitor into buying Warner-
First National pictures by theatre-building threats.
11. Arbitration for any exhibitor who desires it, and
12. Clearance that will be reasonable as to time and area.
These concessions are offered to all holders of 1939-40
season's contracts, even if they have signed them as far
back as the first day of January.
Thus Mr. Sears, without haggling or wrangling, with-
out consulting with any other distributor, has put these
reforms into force, offering them to all exhibitors indis-
criminately.
Even though these reforms are not all that the exhibitors
are looking for, nor do they come anywhere near the
demands of the Department of Justice as deduced when the
Government's brief in the suit against the major com-
panies is compared with them, they are a step toward
progress.
Harrison's Reports takes this opportunity of congratu-
lating Mr. Sears for his progressive spirit.
A SIGNIFICANT RESOLUTION BY
A NON-ALLIED EXHIBITOR
ORGANIZATION
At a meeting of Southeastern Theatre Owners Associa-
tion, held in Atlanta on August 9, the following resolution
was passed :
"WHEREAS, the motion picture industry is currently
attempting to formulate a Code of Fair Trade Practices
for itself and the General Public, and
"WHEREAS, it has been proposed, among other condi-
tions and practices, that the Producers and Distributors of
motion pictures give the Exhibitors of motion pictures the
privilege of eliminating a minimum percentage of the fea-
ture motion pictures which are sold to the Exhibitors so
that the Exhibitors may have the opportunity of discarding
poor and unsuitable motion pictures from its block pur-
chases, and
"WHEREAS, certain of the said Producers and Distri-
butors are attempting to enforce a principle of adding an
equal or greater percentage to the cost of the new season
product (1939-1940) to eliminate the benefits of this par-
ticular concession, and
"WHEREAS, contrary to the spirit of the Code certain
Producers and Distributors are forcing the sale of un-
needed short subjects to the purchase of their feature
pictures, now, therefore, be it —
"Resolved, that we, the Directors of Southeastern Thea-
tre Owners Association, in meeting assembled this, the
ninth day of August, 1939, at the Ansley Hotel, Atlanta,
Georgia, go on record with the Industry, the General Pub-
lic and the Press as being unanimously opposed to this
unfair practice and demand the immediate cessation of,
"A — The forced sale of short subjects.
"B — The unfair principle of appearing to give a twenty
percent (20%) elimination of feature motion pictures
which is actually no concession at all because the prices of
the actual features used by the Exhibitors are being raised
to such an extent that it entirely nullifies the proposed
elimination and benefits which the Exhibitors are supposed
to receive.
"Be It Further Resolved, that the President have copies
of this resolution printed and immediately mail same to
each of the Branch Managers in Atlanta, Georgia, and to
each of the General Sales Managers in New York City,
and to the Trade Press of the industry."
In sending out this resolution, Mr. Milton C. Moore,
president of the organization, accompanied it with a circular
letter stating that the meeting was attended by approxi-
mately sixty exhibitors besides twenty-two of the thirty
members of the board of directors. Among these was, he
says, one of the largest theatre operators in the territory,
two of the next largest operators, and several independent
circuit theatre operators. He said that at least one-half of
the theatres in the territory were represented. In bringing
these facts to the attention of those who received a copy of
the resolution, his purpose was to impress them with the
seriousness of the meeting.
In a personal note to me, Mr. Moore said also the
following:
"All the members and non-members in this section . . .
have never been radical but are fast becoming that way
and believe me when this time comes something will be
done as there is a limit to human endurance." He says that
the exhibitors are running to their Congressmen for relief
and the leaders of the association can not stop them ; they
are becoming unmanageable, he says, with but one thought
— to "wreak vengeance on the accused."
In the July 29 issue I stated that, when it comes to
national issues, even the unorganized exhibitors stand by
Allied; I should have added also many exhibitor organiza-
tions that arc not affiliated with Allied. Southeastern Thea-
tre Owners Association, with a membership of 457 theatres,
which Association is not an Allied unit, is the proof of it.
STORY FORECASTS FOR THE 1939-40
SEASON
Paramount
(Continued from last ivcek's issue)
In the previous two issues, forecasts for the following
Paramount stories were made : "The Cat and the Canary"
(a remake), "Disputed Passage," "The Double-Dyed De-
ceiver" (a remake), "Federal Offense," "Geronimo,"
"French Without Tears," and "Happy Ending."
(Continued on last (Hiye)
138
HARRISON'S REPORTS
September 2, 1939
"The Star Maker" with Bing Crosby
and Louise Campbell
{Paramount, August 25; time, 93 mill.)
This musical, which is based on the life of Gus Edwards,
the man who started many youngsters on their theatrical
climb to fame, offers pretty good mass entertainment. Bing
Crosby is not cast in this picture as prominently as he has
been cast in other pictures, tor most of the action revolves
around the young performers, particularly around Linda
Ware, a talented singer. Some oi the children are amusing,
and capable. There is plentitul music, sung both by Crosby
and the youngsters, most of it being of the popular variety,
'towards the end, Miss Ware sings classical music, accom-
panied by a symphony orchestra, conducted by Walter
Damroscti. Comedy and romance round out the plot : —
Crosby marries Louise Campbell, but finds it difficult to
settle down to ordinary work, since his mind was on com-
posing songs and on entering the theatrical field. He con-
ceives the idea of forming an act composed of himself and
children, but he finds it difficult to get a hearing. Through a
ruse, Miss Campbell obtains a hearing with a famous thea-
tre owner (Thurston Hall), and convinces him of the
merits of Crosby's act. He gives Crosby a chance. The act
goes over so well, that the bookings are extended. But
Crosby, who was always full of ideas, wants to go further.
Sponsored by a dealer in children's food, he starts a cross-
country tour, in company with his wife and press agent
(Ned Sparks), to find talented children. His scheme works,
and he forms road companies. But he meets with dissap-
pointment when, on the opening night of his Broadway
show composed of children, he is forced to close by order
of the Children's Society, who insisted that it was against
the law to permit children to perform after a certain hour.
Crosby turns the contract of his most talented performer
(Linda Ware) over to a noted symphony orchestra con-
ductor, who sponsors her career as a singer. Crosby, feeling
that all his work had been in vain, is despondent. But the
coming of radio gives him a new idea: he carries on his
programs with children over the air instead of on the
stage. In time, he becomes so successful that he buys the
radio station.
Arthur Caesar wrote the story, and he, Frank Butler,
and Don Hartman, the screen play ; Roy Del Ruth directed
it, and Charles Rogers produced it. In the cast are Laura
Hope Crews, and others.
Suitability, Class A. Tempo, a little slow in spots.
"Conspiracy" with Allan Lane
and Linda Hayes
(RKO, September 1 ; time, 59 min.)
This program melodrama offers pretty exciting fare for
an average audience, for the action is fast, holding one in
suspense throughout. Although the name of the country
in which the action unfolds is not mentioned, it seems
reasonable to assume, because of the accents and of the
circumstances, that it is meant to be one of the fascist
countries. The story is somewhat far-fetched; but, since it
moves at a fast pace, it holds one's interest well. The
romance is minimized : —
When the ship on which Allan Lane was telegraph opera-
tor arrives at a foreign country, a deck hand forces Lane
to send a secret message through for him. But when gov-
ernment officials arrive before the message could be com-
pleted, the deck hand dives off the boat ; they shoot and
kill him. Suspecting Lane of being his accomplice, they
prepare to arrest him. Lane dives off the boat and, by
evading the bullets, manages to swim to safety. He becomes
acquainted with Linda Hayes, who, it develops, was the
sister of the deck hand who had been killed ; they had been
working together in an underground movement against the
brutal government, and had planned to seize the cargo of
ammunition that was on the boat. Miss Hayes takes Lane
to the cafe where she worked. The owner (Robert Barrat),
an American, agrees to help Lane escape. But the officials,
finding out where Lane was, rush to get him. Barrat, his
assistant (Charles Foy), Lane, and Miss Haves escape just
in time. By means of help from a friend, Barrat and his
party succeed in crossing the border in safety. Lane, who
had fallen in love with Miss Hayes, asks her to leave for
America with him ; but she refuses, for she felt that she was
of importance to the work going on in her country.
John McCarthy and Faith Thomas wrote the story, and
Jerome Chodorov, the screen play; Lew Landers directed
it, and Cliff Reid produced it. In the cast are Lionel Royce,
J. Farrell MacDonald, Lester Matthews, and others.
Suitability, Class A.
"Coast Guard" with Randolph Scott,
Frances Dee and Ralph Bellamy
(Columbia, August 4; time, 72 min.)
This melodrama is just an ordinary rehash of a familiar
plot — that of two men being in love witli the same girl,
which results in conflict between them and in eventual re-
conciliation. All the usual plot developments have been
employed, thereby lessening one's interest in the outcome.
In addition, it has been given a careless production; the
miniature work of storm-beaten ships will be obvious to
most spectators. The melodramatic ending turns out to be
ridiculous instead of being exciting ; audiences will laugh,
not because the action calls for it, but because it is so
highly far-fetched : —
Ralph Bellamy, officer in the Coast Guard, falls in love
with Frances Dee, but is too shy to propose. His pal
(Randolph Scott), who was connected with the aviation
division of the Coast Guard, and who was noted for his
success with women, tries to give him advice. Before leav-
ing for rescue work in a flooded area, Bellamy asks Scott
to take care of Miss Dee. But Scott and Miss Dee fall in
love with each other, and by the time Bellamy returns they
are married. This naturally breaks up the friendship. Miss
Dee is unhappy, for Scott stayed out nights, despite many
promises to reform. Eventually she leaves him. He takes to
drink, neglecting his work. When word comes that Bellamy,
who had set off to rescue a group of explorers stranded in
the ice country, was lost, Miss Dee asks Scott, who knew
the country well, to go in search of Bellamy. At first he
refuses ; but he finally consents. He finds and brings back
Bellamy, who was nearly frozen to death. On his return, he
is happy to find that Miss Dee had forgiven him and had
returned to their home.
Richard Maibaum, Alfred Duffy, and Harry Segall
wrote the original screen play ; Edward Ludwig directed it,
and Fred Kohlmar produced it. In the cast are Walter
Connolly, Warren Hymer, Robert Middlemass, and others.
Suitability, Class A. Tempo, somewhat fast.
"The Under-Pup" with Robert Cummings,
Nan Grey and Gloria Jean
(Universal [1939-40], September 1 ; time, 87 min.)
Not only does this picture offer a delightful entertain-
ment, but it presents a captivating personality, Gloria Jean,
an eleven year old girl, new to the screen, who should
become a box-office sensation at once. Her singing voice,
her naturalness before the camera, her facile enunciation,
combined with her charm, should win every one who sees
her. There is no reason why she should not prove as pow-
erful a box-office magnet as is Deanna Durbin. The story is
simple ; but it has human interest, excellent comedy, and a
pleasant romance. Throughout the picture there is a run-
ning gag that should keep audiences in "stitches" ; it
involves two mischievous boys, who remind one of the
"Katzenjammer Kids," playing their tricks on their help-
less father and on others : —
Gloria, young daughter of a tenement family, is the
winner of a contest that was sponsored by wealthy young
girls, entitling her to spend the summer with them at their
exclusive camp. The girls, led bv snobbish Shirley Mills,
president of the club, humiliate Gloria. Only little Virginia
Weidler proves to be her friend. Nan Grey, camp super-
visor, is kind to Gloria and tries to help her. Everything
that Gloria does gets her into trouble with the girls : but
Virginia sticks by her. Gloria, feeling sorry for Virginia,
whose parents were on the verge of a divorce, writes to her
grandfather (C. Aubrey Smith) to fix things up. Frighten-
ine the parents by leading them to believe that Virginia was
ill, he makes them both forget their marital difficulties ; thev
rush to their child. Gloria, who had been coaching Virginia
for the swimming race, is enraged when she finds Shirley
trying to feed Virginia ice-cream so as to incapacitate her,
and forces Shirley to eat thr» ice-cream instead. Shirley's
immensely wealthy father (Raymond Walburn) arrives at
the camp; at first he is angry but then he realizes that his
child was spoiled, and deserved what she got. Virginia wins
the race; but Gloria prepares to leave, for she thousrht that
the girls did not want her. Her grandfather, who had
arrived at the camp, compels her to remain and to apologize
to Shirlev ; the plan works and the girls become good
friends. Gloria is overjoved when the girls make her a
member of their club and give her a uniform. Miss Grey
an'' Robert rummings, camp director, plan to marry.
I. A. R. Wvlie wrote the storv, and Grover Jon^s, the
screen play; Richard Wallace directed it. and Joe Paster-
nak nrodurpd it. Tn the cast are Beulah Bondi, Margaret
Lindsay, Billy Gilbert, Ann Gillis, Paul Cavanagh, and
others.
Class A. Tempo, fairly fast.
September 2, 1939
HARRISON'S REPORTS
139
"Full Confession" with Victor McLaglen,
Sally Eilers and Joseph Calleia
(RKO [1939-40], September 8; time, 72 mm.)
A strong but somewhat depressing melodrama. With the
exception of one amusing situation, during which laughter
is provoked by the antics of Barry Fitzgerald, who had had
a little too much to drink, the action is in a somber vein.
The siory has a harrowing effect on the spectator, for an
innocent man, accused of murder, is made to suffer, until
the real murderer confesses toward the end. Naturally this
tends to hold one in suspense ; but it is not pleasurable or
exciting. The outstanding character is a Catholic Priest,
who, having heard the murderer's confession, and being
unable to divulge the facts, hounds the murderer until he
confesses to the police. One feels sympathy for Sally
Eilers, who loved and trusted the murderer, not knowing
of his crime : —
Victor McLaglen, interrupted by a night watchman
(Fitzgerald) while he was attempting to steal a fur coat
from a department store, knocks out the watchman and
grabs his gun. But a policeman had seen and followed him.
Terrified, McLaglen shoots and kills the policeman, and
throws the gun at his side. Wanting to clear himself of the
murder charge, McLaglen throws a brick into the store
window and snatches the fur coat ; he is caught and sent to
prison on a robbery charge. His sweetheart (Sally Eilers)
enlists the aid of a Priest (Joseph Calleia) in obtaining a
parole for McLaglen. A year later, Fitzgerald, while cele-
brating his son's marriage, drinks too much and becomes
quarrelsome. A policeman takes him to the police station
for the night. In checking fingerprints, they find that his
coincided with those found on the gun that had killed the
policeman. No one believes his story of having been
knocked on the head by a robber, an incident which he had
not reported for fear of losing his job. He is charged with
the murder, tried, and sentenced to death. McLaglen, in a
quarrel with two prisoners, is injured severely. Thinking
that he was dying, he makes his confession to Calleia. But
after a blood transfusion given by Calleia he recovers.
When Calleia confronts him, he denies his confession.
McLaglen is paroled and is eager to marry Miss Eilers.
But Calleia. without revealing the facts, urges her to wait.
McLaglen, enraged, quarrels with Calleia and strikes him,
sending him against iron spikes. Calleia is on his death-
bed. Conscience-striken, McLaglen offers his blood for
Calleia. After the transfusion he gives himself up to the
police.
Leo Birinski wrote the story, and Jerry Cady, the screen
play ; John Farrow directed it, and Robert Sisk produced
it. In the cast are Elisabeth Risdon and Adele Pearce.
Not for children. Suitable for adolescents and adults.
Class B. Tempo is a little slow.
"The Hobby Family" with Irene Rich
and Henry O'Neill
(First National, August 26; time, 54 min.)
Just ordinary program fare. The first half is slow, for
most of the footage is consumed in establishing the hobbies
of different members of one family; during this half there
is a great deal of conversation. The second half is slightly
more entertaining, for there is a little action towards the
end, when a forest fire breaks out. But even this does not
arouse more than a spark of excitement : —
Henry O'Neill, editor of a small-town newspaper, is
pestered by his family for money to carry on their hobbies :
his wife (Irene Rich) collected stamps, his daughter (Jean
Sharon) collected records, and his son (Jackie Moran)
specialized in amateur radio work. In addition, lie had to
support an idle brother, who enjoyed reading and quoting
statistical reports. When a large chain buys the newspaper
on which O'Neill worked and the new manager demands
that he change his methods of reporting, O'Neill is so
angry that he decides to take a vacation. At the same time,
he finds a hobby — photography. In company with his son,
he leaves for a camping trip. A forest fire breaks out ;
much of the rescue work is accomplished through Jackie's
radio. Even though he and Jackie are haled as heroes,
O'Neill finds himself without a job when he returns home.
But Miss Rich keens things going by selling her valuable
stamp collection. Things turn out well; O'Neill receives a
reward from the government, for he had accidentally photo-
graphed the man who had started the fire. At the same
time, he receives his old nosition back. And to top it off, he
obtains a job for his brother.
William W. Brockway wrote the storv. and he and
Kenneth Garnet, the screen play ; William Mcdann di-
rected it. and Brvan Fov nroduced it. In the cast are
Aldrich Bowker, John Ridgely, Peggy Stewart, and others.
Suitability, Gass A. Tempo, somewhat slow.
"Fifth Avenue Girl" with Ginger Rogers
and Walter Connolly
(RKO, September 22 ; time, 82s/2 min.)
A good comedy ; its appeal may, however, be directed
more to class audiences than to the masses, because of the
over-abundance of dialogue. The story is not new ; but so
lavish is the production and so skillful the performances,
that one's interest is held well. Some spectators may be
disappointed in the way the romance has been developed,
for it is not given any buildup; as a matter of fact, it is
the picture's most unimportant part. One feels sympathy for
Walter Connolly and Ginger Rogers, whose efforts to help
Connolly's family result in misunderstandings and discom-
fort for both of them : —
Connolly, a millionaire, is oppressed by business troubles
on one hand and depressed by family troubles on the other.
His wife (Verree Teasdale) was contemplating a divorce
in order to marry a younger man; his son (Tim Holt)
spent all his time playing polo instead of attending to busi-
ness; and his daughter (Kathryn Adams) was frivolous.
No one, except his secretary, remembers his birthday. He
goes for a stroll in Central Park; there he meets Miss
Rogers, and enjoys talking to her. He finds out that, al-
though unemployed, she was cheerful and hopeful. He
invites her to have dinner with him at an expensive night
club, where they have a gay time. Connolly's wife, who
was there with another man, is shocked at seeing her hus-
band have a good time. Connolly drinks too much, and
awakens the next morning to find that he had taken Miss
Rogers home with him. Noticing how that infuriated his
wife, he decides to keep Miss Rogers on as his companion,
permitting the family to think that he intended to marry
her. The plan works : Miss Teasdale does her best to win
back her husband's love ; Holt, because of his father's
refusal to go to work, has to take matters into his own
hands, and does a good job of it; and Miss Adams settles
down and marries James Ellison, the family chauffeur. The
family eventually learns the truth about Miss Rogers'
standing in the household, and are happy. Holt, who had
fallen in love with Miss Rogers, induces her to marry him.
Allan Scott wrote the screen play, Gregory LaCava di-
rected it ; Pandro S. Berman produced it. In the cast are
Franklin Pangborn, Louis Calhern, Ferike Boros, Theo-
dore VonEltz, Alexander D'Arcy, and others.
Suitability, Class A. Tempo, a little slow at times.
"These Glamour Girls" with Lew Ayres
and Lana Turner
(MGM, August 18; time, 78 mm.)
Just fair program entertainment. Its appeal should be
directed mostly to younger people, who enjoy pictures with
college backgrounds, for it is at a college where most of the
plot unfolds. Most adults may find the actions of the young
students and their girl friends slightly silly, and at times
even boresome. The story is artificial and the dramatic
sequences forced. No one does anything to awaken deep
sympathy. As a matter of fact, some of the characters are
objectionable. The suicide of one of the girls seems forced.
A few romances are worked into the plot : —
While out on a spree during which they become intoxi-
cated. Lew Ayres. Tom Brown, and Owen Davis, Jr., three
college chums, visit a dance hall. Ayres takes a liking to
one of the hostesses (Lana Turner) and invites her down
to the colleee for the week-end during important college
festivities. When she arrives, he is embarrassed, for he had
forgotten all about her ; he had already invited his fiancee
(Jane Bryan) as his guest. The society girls, particularly
Anita Louise, try to humiliate her. At first Lana is quiet,
but after a while she becomes enraged, upbraids them, and
then leaves. In the meantime, Marsha Hunt, realizing she
had lost her youthful charm and failing in an attemnt to
induce Tom Brown, with whom she had had an affair, to
marry her, drives her car on to a railroad track in the path
of an oncoming train and is killed. Ayres learns that his
father (Henry Kolker) had been arrested for embezzle-
ment ; he rushes to New York to be with him. He assures
his father that he did not mind giving up college and lux-
ury. Knowing that M'ss Bryan did not love him. and that
she was in love with Richard Carlson, a vouncr m?" work-
ing his way through college, Ayres releases her. He goes
back to the dance hall to find Miss Turner ; she is over-
joved at seeing him.
Jane Hall wrote the story, and she and Marion Parson-
net, the screen plav ; S. Sylvan Simon directed it. Mid Sam
Zimbalist produced it. In the cast are Ann Rutherford,
Mary Beth Hughes, Peter Hayes, and others.
The affair and suicide make it unsuitable for children
and adolescents ; adult fare. Class B. Tempo, somewhat
slow.
•Released as EVERYBODY'S HOBBY.
140
HARRISON'S REPORTS
September 2, 1939
'THE LIGHT THAT FAILED" (a remake), the
novel by Kipling, the famous English author, to be pro-
duced and directed by William Wellman (producer of the
"Beau Geste" version that has just been released), with
Ronald Colman, Ida Lupino and Thomas Mitchell. It is a
tragedy, dealing with an Englishman who goes to the war in
Sudan and is wounded. When he returns to England he be-
gins to feel his eyesight failing. Before going blind, he
paints the picture of the girl he loved, but another girl mu-
tilates it out of revenge. His sweetheart learns that he was
going blind and goes to him, but she does not let on that the
painting had been mutilated. The hero goes blind. Hostili-
ties break out in Sudan again and he goes there. Guided by
Arabs he finds his friend, but an Arab bullet puts an end
to his existence.
Comment : This book has already been produced twice ;
once in 1916, by Pathe, and the other time by Paramount, in
1923. The Pathe version was fairly good, but the Para-
mount only fair. The material is such that it can make no
more than a fairly good picture, good at the most, unless
radical alterations in plot as well as characterizations are
made. The hero arouses only commiseration.
Forecast : Under favorable conditions, it should make a
fairly good to good picture, with similar box-office results.
"MY LOVE FOR YOURS," with Madeleine Carroll
and Fred MacMurray, a story of love and misunderstand-
ings, no different from hundreds of other stories of this
kind. The only difference is the fact that a fortune teller
tells the heroine that a tall dark man was to come into her
life, that she was going to take care of a little child, and
other such incidents. They all turn out as the fortune teller
had predicted.
Comment : There is not much human interest in the story,
and the action is not such as to hold one's attention tensely.
Forecast: It should turn out a fair picture, with fairly
good to good box office results because of the popularity of
Miss Carroll and of Fred MacMurray.
"OUR NEIGHBORS, THE CARTERS," with Fay
Bainter and Frank Craven, a moving story of a physician
and his family in a midwestern town, who have a child that
had been crippled by infantile paralysis and haven't enough
money for the purpose of engaging a Viennese specialist to
cure him. A chain drug store comes into town and the
doctor loses his own drug store from inability to compete
with the new store. But eventually a wealthy friend comes
to his rescue.
Comment : There is considerable human interest in this
story. The sufferings of the doctor and his misfortune move
one deeply.
Forecast : It should make a fairly good to good picture,
with fair box office results.
"DIAMONDS ARE DANGEROUS," a crook-Secret
Service melodrama revolving around diamond thieves
operating in South America. The British Secret Service
catches the heroine, partner of the brains of the diamond
thieves, but she refuses to double-cross her gang. But she
is offered immunity if she would help them capture another
gang, whose cruelty had been indescribable. She does aid
them, but when they capture them she finds out that her
own boss was their leader. She becomes the wife of a
British Royal Flying Corps officer, who had aided in the
capture of the thieves.
Comment: There is just the amount of interest that is
found in crook melodramas of other types, and the specta-
tor is held in about the same degree of suspense when the
lives of the sympathetic characters are in jeopardy.
Forecast : It should make a fairly good to good program
melodrama, with fair to poor box office results unless
prominent players are given the leading parts.
"RULERS OF THE SEA," with Douglas Fairbanks,
Jr., a melodrama dealing with the invention of the first
steam engine and fitting a sailing vessel with it. The action
unfolds in London, and part of the action is an effort by
two similar vessels each to cross the Atlanic first, the
reward being the mail contract. There is also a love affair.
Comment : There is mild interest in the action and some
sympathy for the two friends, one of whom is the inventor,
to perfect the steam engine and fit it in a vessel. The ro-
mance is of secondary importance.
Forecast: It should make a fairly good picture, with the
box office results in each locality depending on the drawing
power of Mr. Fairbanks.
(To be continued next week)
BOX-OFFICE PERFORMANCES OF
1938-39 SEASON'S PICTURES— No. 1
This is the third series of articles giving the box-office
performances of 1938-39 season's pictures. The first series
was printed beginning with the January 14 issue, and tlia
secoml beginning with the April 8 issue.
The designation "Good-Fair," means that one-half of the
theatres have reported that they did good business with a
particular picture and one-half of them fair. "Very Good-
Fair" means that some theatres did very well, some well,
while some only fair. The other designations have a similar
meaning.
Columbia
"My Son Is a Criminal," with Alan Baxter, Jacqueline
Wells, and Gordon Oliver; directed by C. C. Coleman, Jr.,
from a screen play by Arthur T. Horman : Fair-Poor.
"Let Us Live," with Henry Fonda, Maureen O'Sullivan.
and Ralph Bellamy ; produced by William Perlberg and
directed by John Brahm, from a screen play by Anthony
Veiller and Allen Rivkin : Good-Fair.
"Blondie Meets the Boss," with Penny Singleton and
Arthur Lake ; produced by Robert Sparks and directed by
Frank R. Strayer, from a screen play by Richard Flournoy :
Good-Fair.
. "Lone Star Pioneers," with Bill Elliott and Dorothy
Gulliver; directed by Joseph Levering, from a screen play
by Nate Gatzert : Fair-Poor.
"Whispering Enemies," with Jack Holt and Dolores
Costello ; produced by Larry Darmour and directed by
Lewis D. Collins, from a screen play by Gordon Rigby and
Tom Kilpatrick : Good-Poor.
"Romance of the Redwoods," with Charles Bickford,
Jean Parker, and Gordon Oliver ; directed by Charles
Vidor, from a screen play by Michael Simmons : Fair-
Poor.
"North of the Yukon," with Charles Starrett and Linda
Winters : directed by Sam Nelson, from a screen play by
Bennett R. Cohen : Very Good- Poor.
"The Lady and the Mob," with Fay Bainter, Ida Lupino,
and Lee Bowman ; produced by Fred Kohlmar and directed
by Ben Stoloff, from a screen play by Richard Maibaum
and Gertrude Purcell : Good-Poor.
"First Offenders," with Walter Abel, Beverly Roberts,
and Johnny Downs ; directed by Frank MacDonald, from a
screen play by Walter Wise : Good-Poor.
"The Law Comes to Texas," with Bill Elliott and Veda
Ann Borg ; directed by Joseph Levering, from a screen play
by Nate Gatzert : Fair-Poor.
"Spoilers of the Range," with Charles Starrett and Iris
Meredith ; directed by C. C. Coleman, Jr., from a screen
play by Paul Franklin : Fair-Poor.
"Outside These Walls," with Michael Whalen, Dolores
Costello, and Virginia Weidler ; directed by Raymond B.
McCarey, from a screen play by Harold Buchman : Fair-
Poor.
"Blind Alley," with Chester Morris and Ralph Bellamy ;
produced by Fred Kohlmar and directed by Charles Vidor,
from a screen play by Philip MacDonald, Michael Blank-
fort, and Albert Duffy : Good-Fair.
"Missing Daughters," with Richard Arlen, Rochelle
Hudson, Isabel Jewell, and Marian Marsh ; directed by
C. C. Coleman, Jr., from a screen play by Michael L. Sim-
mons and George Bricker : Fair-Poor.
"Only Angels Have Wings," with Cary Grant and Jean
Arthur ; produced and directed by Howard Hawks, from a
screen play by Jules Furthman : Excellent-Good.
"Trapped in the Sky," with Jack Holt ; produced by
Larry Darmour and directed by Lewis D. Collins, from a
screen play by Eric Taylor and Gordon Rigby: Fair-Poor.
"Western Caravan," with Charles Starrett and Iris
Meredith ; directed by Sam Nelson, from a screen play by
Bennett R. Cohen : Good- Poor.
Thirty-two pictures, excluding four Westerns, have been
released. Grouping the pictures of the different ratings from
the beginning of the season, we get the following results :
Excellent, 1 ; Excellent-Good, 1 ; Very Good-Poor, 1 ;
Good, 1 ; Good-Fair, 5; Good-Poor, 5; Fair, 2; Fair-Poor,
16.
The first thirty-two pictures in the 1937-38 season, in-
cluding Westerns, were rated as follows :
Excellent, 2; Good-Fair, 3; Good-Poor, 3; Fair, 8;
Fair-Poor, 15; Poor, 1.
Bntered »» seoond-Hass matter January 4, 1921, at the post ofBoe at New T»rk, New Tork, under the act ef Mareii J, 1*78.
Yearly Subscription Rates: 1270 SIXTH AVENUE Published Weakly by
United &tateB ?15.00 fZnnm 1 <11 1 Harrison's Reports. Inc.,
U. S. Insular Possessions. 16.50 ROOm 1SU Publisher
Canada 16.50 New York, N. Y. P. S. HARRISON, Editor
Mexico, Cuba, Spain 16.50 . _. . _ , , _ .
Great Britain 15 75 Motion Picture Reviewing Service
Australia, New Zealani, " Devoted Chiefly to the Interests of the Exhibitors Established July 1. 1J19
India, Europe, Asia .... 17.50
* rnnv Its Editorial Policy: No Problem Too Bigr for Its Editorial CIrol« 7-«tU
sac a copy Columns, if It Is to Benefit the Exhibitor.
A REVIEWING SERVICE FREE FROM THE INFLUENCE OF FILM ADVERTISING
Vol. XXI SATURDAY, SEPTEMBER 9, 1939 No. 36
WHAT ARE THE OTHER MAJORS NOW
GOING TO DO ON THE REFORMS?
Now that Warner Bros, has put into force most of the
reforms that had been offered the exhibitors by the dis-
tributor negotiating committee, which reforms were re-
jected by Allied, on the ground that they did not take care
of all the independent exhibitor grievances, what are the
other majors going to do? Are they going to revise their
selling policies, or adhere to the old sales methods?
The logical move on their part would be to fellow Grad
Sears' lead. Paramount has already decided to put these
leioims into toice; Neil Agnew has informed this office
that he is going to have them incorporated into the Para-
mount contract, the form of which he is now revising.
The most important concessions that Warner Bros, has
offered to the exhibitors are the following :
(1) Cancellation of two pictures out of each ten in cases
where the exhibitor has bought the entire First National-
Warner Bros, product, and his film rentals do not average
more than $100 for each picture (one out of each ten when
the rentals average more than $100 per picture), the can-
cellations to be proportional among the different groups.
If a group consists, for example, of ten pictures, the ex-
hibitor will be entitled to cancel two pictures.
The Warner announcement does not state whether the
exhibitor will be allowed to cancel two pictures if the
group should consist of only six pictures, but if precedent
should be followed, he should be allowed to cancel two, for
since the days of the NRA Code a fraction of ten has come
to be considered a full unit as long as it does not consist
of fewer than five pictures.
It may be possible that, in the case of exhibitors whose
average film rental per picture will be less than $100, a
minimum of seven pictures may be considered a full unit,
allowing a minimum of five pictures still to constitute a
full unit in the case of those who will have the right to
cancel only one picture out of each unit of ten pictures, as
long as the total number of the pictures an exhibitor will
have the right to cancel is not increased.
But I presume that these are matters of detail, and will
be adjusted in operation; I take it for granted that the
interpretation of the language of what Gradwell Sears has
offered, and what the other major companies may offer,
will be made in a fair spirit.
(2) Elimination of a feature picture if it should prove
objectionable to the people of the contract holder's com-
munity on either religious, moral, or racial grounds. Al-
though no strings are attached to this offer, as was the
i^, w th the C de that the Department of Justice has con-
demned recently, it is assumed that the exhibitor will have
to satisfy Warner Bros, that the objection on such grounds
is bona fide.
(3) No forcing of shorts, trailers or reissues. If this
c meessicn should be applied by the forces in the field fairly,
I am sure that Gradwell Scars will have the everlasting
gratitude of every exhibitor in the country; and 1 have
t tie • i i ilu Mi ■ best he can to see to it that
it is carried out without any "chiseling."
(4) Elimination of the score charge. It is up to the
exhibitor to see to it that the salesman does not add it to
the film rental.
(5) Establishing a picture's price bracket allocation
fourteen days after that picture's national release date;
and to make the allocations fair, Warner Bros, will make
tests of each high-priced picture in several "test cities."
This, too, is a welcomed offer.
(6) No coercion or intimidation of exhibitors by theatre-
building threats.
(7) Arbitration to those exhibitors who ask for it and
sign an agreement to that effect. This type of arbitration.
however, will not be the kind that was outlawed by the
courts in 1929-30; each party (exhibitor and distributor)
will be entitled to choose one arbitrator, and the two arbi-
trators will agree upon a third, to act as an umpire.
(8) Fair and reasonable clearance as to time and area.
Although this concession is flexible in that its fairness
cannot be determined in advance, those who will sign an
arbitration agreement will be able to submit their griev-
ance to an arbitration board.
Warner Bros, has made these concessions retroactive ;
that is, they apply not only to future contracts, but also to
1939-40 contracts that have been signed as early as January
1, 1939.
The point that has been designated as number (4) in the
Warner Bros, announcement in the trade papers reads as
follows : "We expect all top bracket pictures to be played
on preferred playing time." This is not, of course, a con-
cession, but it is up to the exhibitor to limit the number of
top-bracket pictures.
The offer that has been numbered in the Warner Bros,
announcement as (5) means that Warner Bros, will sell
pictures to any exhibitor, regardless of competition in a
locality, but it is surrounded by so many conditions that it
actually means nothing ; it must be left to the fairness of
the Warner officials to give real meaning to it. But in view
of the changing conditions in the industry, I am sure that
no exhibitor will be left without film even where compe-
tition is keenest.
Warner Bros, promised also not to take the service away
from an old customer, provided his business relations with
the company have been good.
Perhaps the other major companies, stunned by the
action of Warner Bros.- — the lone wolves of the industry —
will go one better and offer the exhibitors more. But each
individual exhibitor should demand at least the same
concessions.
STORY FORECASTS FOR THE 1939-40
SEASON
Paramount
■ (Continued from last week)
"SEVENTEEN," (a remake), the Booth Tarkington
novel, with Jackie Cooper and Betty Field. It deals with the
romance of a seventeen year old boy, who gets into a jam
in trying to entertain a young sophisticated city girl, who
had visited his small town. Eventually things are straight-
ened out — the girl goes back to the city and the boy returns
to the bosom of his family.
Comment : The novel was produced as a stage play in
1918, playing to 225 performances. It was made into a pic-
ture before that time, in 1916, by Paramount, with Jack
Pickford, with fair box office results.
Forecast : It should make a fairly good to good picture,
with good box office results.
"TYPHOON," with Dorothy Lamour, the romance of a
castaway girl, daughter of a skipper, whose ship went
down with all aboard immediately after the captain had put
his ten year old daughter into a raft. Ten years afterwards
a submarine, used for pearl fishing, comes to the island.
Aboard it there was the hero, a young sailor, who had been
shanghaied. He drinks heavily and the heroine, who finds
him on the beach, takes him to her cave fifty feet below the
ground. The native crew of the submarine revolts and,
putting the captain and his mate ashore, try to run away in
the ship, but it sinks, because they did not know how to
operate it. The hero and the heroine find the two whites and
care for them. Natives set fire to the jungle to smoke out
the whites but the tidal wave that had been created by a
typhoon puts out the fire. The natives are all drowned.
(Continued on last payc)
142
HARRISON'S REPORTS
September 9, 1939
"The Man They Could Not Hang"
with Boris Karloff
(Columbia, August 1/ ; time, 63 miu.)
Presumably this was meant to be a nurror picture, but it
is cioubtiul li it will thrill any one but children. Adults will
lind the stoiy extremely siliy ; and tiie plot is developed in
so obvious a manner tnat there are no surprises. Altnough
the leading character at lirst wins one's sympathy, he later
tuins out to be a most unpleasant person — a homicidal
maniac! '1 here is a fair degree of suspense towards the end,
wneii the hero-villain traps a group of persons in a room
the exits of which were charged with high voltage elec-
tricity. '1 here is no romance-: —
Uons Karloff, a surgeon and scientist, invents a mechani-
cal heart that could be used to restore life; it could prove
extremely heipiul to surgeons in operative casts. A young
college man agrees to act as a test case. Karloff puts him
to death by means of poison gas but, before he could use
his invention to restore him to hie, the >oung man s fiancee
arrives with the police, and his experiment ends. Karlorf is
arrested, tried for murder, and sentenced to be hung. Alter
the hanging, Karlotf's assistant claims the body ; he first
operates on the broken neck and then, by means of the
mechanical heart, brings Karloff back to life. After a few
months of rest, Karloff sets out to kill every one connected
with his trial. Alter killing six jurors, he gathers together
at his home, through a ruse, the judge, district attorney,
and the remaining jurors. Robert Wilcox, a newspaper
reporter, forces his way in. in a short time, they realize
that they were trapped ; they are frightened when the sup-
posedly dead man appears. He kills two men within a half
hour. The timely arrival of Karloff's daughter, who threat-
ens to kill herself unless he would desist from his mur-
derous intentions, stops him. Karloff dies from a bullet
wound inflicted by the district attorney.
Leslie T. White and George W. Sayrc wrote the story,
ana Karl Broun, the screen play ; Ni k Grin le di.ected it.
Not lor children. For adolescents and adults. Class B.
"Golden Boy" with Barbara Stanwyck,
Adolphe Menjou and William Holden
( e oiwfnbia, September 5; time, 99 min.)
A good drama with definite mass appeal. Even though
the action is a little slow at times, it is always interesting.
The story is different from the ordinary prizefight picture,
in that it stresses the emotional conflict that the hero goes
through in choosing between the career of a violinist and
of a fighter ; it does not glorify the fighting game. There
are several situations that tear at the heartstrings ; these
occur when the hero's father, a simple-living person, pleads
with his son not to fight. One feels sympathy for the hero
throughout, since one understands the impulse that had
urged him on to success in the ring ; his suffering touches
one. The fighting sequence near the end is one of the most
exciting seen in pictures ; not only has the bout been handled
realistically, but the excitement of the mob has been caught ;
thus the spectator's interest in the fight becomes intensified.
The romance does not start off pleasantly, but it ends satis-
factorily. Wrilliam Holden, a newcomer, who plays the
lea l, shows fine talent and should go a long way : —
Holden, son of an Italian middle-class groceryman (Lee
J. Cobb;, loves music and shows talent as a violinist. Cobb
dreams of the day when his son would be a famous musician.
Lut Holden wants to make money, not only for himself
but for his father, sister, and brother-in-law, and the only
way he knew how to make it was by fighting. Cobb is
heartbroken when his son ties up with Adolphe Menjou, a
fight manager, but Holden assures him everything would
be all right. Holden wins all his fights, showing great
promise. On a visit to his family, he plays the violin for
them; he is so moved that he decides to give up fighting.
Barbara Stanwyck, Menjou's girl friend, knowing that
Holden was in love with her, tells Menjou not to worry;
she goes out with Holden and convinces him that money
and fame are important. Holden goes back to fighting,
hoping to win both the title and Miss Stanwyck. Joseph
Calleia, a gangster, insists on a half -interest in Holden,
but Menjou turns him down. Being deeply in love with
Holden by this time. Miss Stanwyck pleads with him to
give up fighting. But when Holden realizes the influence
Calleia had in getting important engagements, he insists
on the partnership. Another reason was that he felt that
Miss Stanwyck had used her charms on him for Menjou's
sake; he did not know that Menjou had succeeded in
obtaining a divorce from his wife, and that Miss Stanwyck
felt it was her duty to marry him. Flolden wins his most
important bout ; but he is horrified when he learns that his
opponent had died. Grief-stricken, he tells Calleia that he
was through with fighting. Miss Stanwyck rushes to his
side, offering her comfort and love. Together, they go bark
to Holden's father's humble home.
The plot was adapted from the stage play by Clifford
Odets. Lewis Meltzer, Daniel Taradash, Sarah Y. Mason,
and Victor Hcerman wrote the screen play ; Kouben
Mamoulian directed it, and William Perlberg produced it.
In the cast are Sam Levenc, Edward S. Brophy, Beatrice
Blinn, Don Beddoe, and others.
Since the relationship between Miss Stanwyck and
Menjou is handled carefully, it is suitable for all. Class A.
"Flight at Midnight" with Phil Regan,
Jean Parker and Robert Armstrong
(Republic [1939-40], August 28; time, 65 min.)
Fair entertainment. It mixes aviation melodrama with
romance, some comedy and a little music. Although it is
entei taining on ail these counts, it becomes irksome because
oi the characterization of the hero. He is presented in so
unfavorable a light — as being conceited, philandering, and
unreliable — that one is annoyed with him and, therefore,
does not follow bis actions with enthusiasm. As a matter
of fact, his neglect of duty is the direct cause of the death
of a likeable character. Not until this happens, which is
tovsards the end, dots he become regenerated; but by that
time it is difficult for one to sympathize with him. The
closing scene, in which the hero risks his life to save the
passengers in another plane, is pretty exciting. Phil Regan
handles the musical numbers well : —
Regan, air-mail pilot for Harlan Briggs, owner of an
airport, is constantly disobeying orders. Because of this,
Robert Armstrong, airport inspector, is compelled to
ground him for thirty days. Regan takes it as a personal
offense, for he believed that Armstrong resented the fact
that he had gone out with Jean Parker, airline hostess,
and a good friend of Armstrong's. Regan and his mechanic
(Noah Beery, Jr. ) start an aviation school ; although they
stick to rules, they disrupt the organization at the airfield.
Miss Parker tries to reason with Regan but he refuses to
heed her advice. Learning that Col. Roscoe Turner would
be unable to test a new plane that meant the salvation of the
airport, which would be closed unless Briggs could raise
$100,000 to clear the field of high tension wires, Briggs
offers the test flight to Regan. He accepts it. Being late, as
usual, Beery takes his place ; he is killed during the flight,
and Regan is heartbroken. Turner, who had been flying
five Mayors to a fair, with Miss Parker as hostess, radios
that he was in trouble and would have to land in the
dark. Regan, realizing that he would crash into the high
tension wires, goes up in his plane, and purposely crashes
it through the wires, thereby clearing the field for Turner.
Regan is severely injured, but he recovers and wins praise
from friends and Miss Parker's consent to their marriage.
Daniel Moore and Hugh King wrote the story, and
Eliot Gibbons, the screen play; Sidney Salkow directed it,
and Armand Schaefer produced it.
Suitability, Class A.
"Irish Luck" with Frankie Darro
and Dick Purcell
( Monogram, August 22 ; time, 58 min.}
A pretty entertaining program comedy-melodrama. It
holds one's interest well, for there is something happening
all the time ; moreover, the mystery is not solved until the
end. The comedy is worked into the plot without retarding
the action, thereby keeping one amused as well as excited.
There is no romance : —
Frankie Darro, a bellhop at a hotel, was always getting
into trouble because of his uncontrollable desire to be a
detective. Even though he was directly responsible for the
capture of two bond thieves, Dick Purcell, the police
sergeant, warns him not to interfere in police matters, for
he remembered that Darro's father, a detective, had been
killed in service and he did not want Darro to take any
chances. But Darro and his assistant, a negro porter
(Manton Moreland), cannot help becoming involved in
another case, this time a murder. He helps a young lady
to escape from the hotel, for, although suspicion pointed to
her, he believed her to be innocent. Darro finally solves the
case, but he is trapped by the murderer, who, it develops,
was the hotel detective ; he had been mixed up with crooks
in the stolen bond racket. Moreland, who had be°n hiding
in the bathroom of the murderer's suite, in an effort to help
Darro, climbs out on the window ledge, pretending to want
to jump, thereby attracting the police. The police arrive in
time to save Darro and capture the murderer. Darro tells
Purcell that he had been taught his lesson and would
thereafter keep away from detective work.
Charles M. Brown wrote the story, and Mary C.
McCarthy, the screen play ; Howard Bretherton directed
it, and Grant Withers produced it. In the cast are Lillian
Elliott, Shelia Darcy. Dennis Moore, and others.
Suitability, Class A. Tempo, pretty fast.
September 9, 1939
HARRISON'S REPORTS
143
"Death of a Champion" with
Lynne Overman, Virginia Dale
and Donald O'Connor
(Paramount [1939-40], September 1 ; time, 66 mm.)
A fair progiam entertainment. It combines murder mys-
tery melodrama with comedy ; and, since the murderer's
identity is not divulged until the end, it holds one in fair
suspense. Most of the laughter is provoked by young
Donald O'Connor, whose eagerness to do detective work
leads him into many embarrassing and at times dangerous
situations. Since there are several murders and clues to
follow, it should fare best with audiences who enjoy pic-
tures of this type, regardless of the far-fetched plot and
ordinary production values. The romance is pleasant : —
During a dog-show, the champion dog owned by Harry
Davenport is poisoned mysteriously. At the same time,
Pierre Watkin, a former dog judge, who was a spectator
at the show, is killed. Since the murder occurred in the
booth where Lynne Overman sold encyclopedias, Donald
O'Connor, his young assistant who read detective stories,
takes a personal interest in the case. Since no one listened
to his theories, he sets out to investigate matters for him-
self. He goes to the dead man's room, but before he could
find anything two other men enter through the window at
different times. From his hiding place under the bed,
O'Connor sees one of the men kill the other and leave
through the window. By the time O'Connor summons the
police, the body disappears. Soon a third murder occurs.
O'Connor, who had a clue, rushes to the place where the
dog show had been held, and telephones to Overman ; but
he is overpowered by some one. Overman, realizing that
something had happened, goes to his aid; but he, too, is
trapped. Through a clever trick, however, they manage to
escape. Accompanied by the police sergeant, they rush to
Davenport's home, where Davenport was having a party,
and through a ruse they trap the murderer ( Robert Paig : I,
forcing him to confess. W ith the case settled, Overman
turns his mind to romance with Virginia Dale. O'Connor
consents to the marriage.
Frank Gruber wrote the story, and Stuart Palmer and
Cortland Fitzsimmons, the screen play ; Robert Florey
directed it, and William H. Wright produced it. In the cast
are Joseph Allen, Jr., Susan Paley, Walter Soderling, and
others.
Because of the murders it is unsuitable for children, but
satisfactory for adolescents and adults. Class B. Tempo,
fairly fast.
"Stop, Look and Love" v/ith Jean Rogers
and Robert Kellard
(20//* Century-Fox [1939-40], Sept. 22; time. 57 mm.)
Minor program fare. It is another one of those family
pictures that should do best as a second feature in neigh-
borhood theatres. In spite of the fact that on occasion
laughter is provoked by the actions of the two children of
the family, the story is not, on the whole, interesting enough
to hold one's attention. Another fault is the characterization
of the mother, whose silly chatter becomes annoying. No
fault can be found with the performances, but only with the
material : —
William Frawley sympathizes with his elder daughter
(Jean Rogers), for her mother (Minna Gombell) con-
stantly nagged her about getting married. While at a
motion picture show, Miss Rogers accidentally meets
Robert Keliard, who asks to sec her home. They see each
other quite often after tha{, and soon fall in love with each
other. Hut Miss Rogers tears to invite him to her home
lest her mother, in her eagerness to see her get married,
scare him away by her silly conversation, as she had done
with others. Miss Rogers and Kellard plan to go on a
picnic, and she finally asks him to call for her at her home.
Miss Gombell starts her usual tactics of trying to impress
the young man with her daughter's charm and good tastes.
She gets him frightened when she tells him what expensive
cln h^s Miss Rog?rs buys, and how she demands everything
of the best. Miss Rogers enters just as Kellard remarks
that he did not think she was that type of girl. Misunder-
standing his statement, she asks him to leave. She packs
her bags and leaves home. Her father suggests that Kellard
follow her and force her to listen to reason. He does, but
not until they had first become embroiled in a fight in
which others bad joined, and from which they both
emerged with black eyes.
Harry Delf wrote the story, and Harold Tarshis and
Sada Cowan, the screen play; Otto lirower directed it,
and Sol M. Wurtzel produced it. In the cast are Eddie
Collins, Cora Sue Collins, and others.
Suitability, Class A. Tempo, somewhat slow.
"Adventures of Sherlock Holmes" with
Basil Rathhone, Nigel Bruce
and Ida Lupino
(20//! Century-Fox [1939-40], Sept. 1; time, 82 min.)
Despite a far-fetched plot, this murder mystery melo-
drama is pretty exciting, mainly because of the excellent
production values. The settings, lighting, photography,
and music, in addition to the usual stock tricks, are of con-
siderable aid in creating an eerie atmosphere, putting the
spectator in a receptive mood for a story of this type. There
are several situations that hold one in tense suspense. The
situation towards the end, where the heroine is pursued by
a murderer, narrowly escaping death, is thrilling. Although
one knows the identity of the criminal leader, the mur-
derer's identity is not revealed until the end. The romance
is unimportant. London is the background : —
Basil Rathbone, a famous detective (Sherlock Holmes),
knows of the criminal activities of George Zucco, but is
unable to obtain incriminating evidence against him. Zucco
warns him that he intended perpetrating a most amazing
crime, and that he, Rathbone, would not be able to stop
him. Rathbone receives a visit from Ida Lupino. She shows
him a threatening letter her brother had received, and
informs him that years previously her father had received
a similar note before he had been murdered. Rathbone and
his assistant (Nigel Bruce) agree to take the case; but
before they can do anything Miss Lupino's brother is mur-
dered. When Miss Lupino, too, receives a similar note,
Rathbone decides to protect her. In the meantime, Zucco
was concocting a brilliant scheme to steal the crown jewels
from the Tower of London. He had arranged the murder
of the young man and had sent the threatening letter to
Miss Lupino only to divert Rathbone's attention from him.
Rathbone saves Miss Lupino by trapping the killer Zucco
had engaged. After hearing the man's confession, the truth
dawns on him ; he rushes to the Tower of London in time
to foil Zucco. He chases Zucro to the roof of the tower
and, in a fight that follows, Zucco falls to his death. Miss
Lupino, who had suspected her fiance (Alan Marshal) of
having had a hand in her brother's murder, expresses her
regrets and becomes reconciled with him.
The plot was adapted from the play by William Gillette.
Edwin Blum and William Drake wrote the screen play,
Alfred Werker directed it, and Gene Markey produced it.
In the cast are Terrv Kilburn, Henry Stephenson, E. E.
Give, Arthur Hohl, May Beatty, and others.
Not for children. Suitable for adolescents and adults.
Class B. Tempo, pretty fast.
"The Fighting Gringo" with George O'Brien
(RKO, September 8; time. 59 min.)
The formula plot has been employed for this Western,
but it should satisfy the fans. There is plentiful action, fast
horseback riding, and gun and fist fights. The spectator is
held in suspense, for the hero's life is endangered through-
out because of his conflict with the villain and his gang. A
romance is started between the hero and the heroine, but it
is not culminated, for in the end the hero leaves to continue
his exciting life : — ■
After stopping an attempted robbery of a stage coach
carrying a large gold shipment, George O'Brien and his
band of vagabonds accompany the coach to town. Lupita
Tovar, a passenger on the coach, is grateful to O'Brien for
his help, and invites him to a fiesta to be held at her father's
ranch. The arrival at the fiesta of LeRoy Mason with his
ranch foreman (William Royle) signifies trouble, for they
were attempting to steal the ranch. While Miss Tovar's
father (Lucio Villegas) asks Mason to a room in the
house for a private talk. Royle sneaks into the room,
knocks out Villegas and kills Mason; he then escapes,
making things look as if Villegas had killed Mason. Ville-
gas' men help him to escape. O'Brien realizes what had
happened ; he knew that Royle was engaged to Mary Field,
sister of the dead man, and that he had killed the brother
so as to eventually own the property himself. By pretend-
ing to be on Royle's side, O'Brien wins his confidence.
Through a ruse, he obtains confirmation of his suspicions
from Royle's assistant, who had seen the murder. By re-
vealing the facts to her, O'Brien obtains the help of Miss
Field. After a terrific battle, O'Brien overpowers Royle
and his men, forcing them to confess to the Sheriff. Al-
though he had been attracted to Miss Tovar, O'Brien
leaves the ranch to continue his adventurous life.
Oliver Drake wrote the story and screen play; David
Howard directed it, and Bert Gilroy produced it. In the-
cal are Glenn Strange, Slim Whittaker, Martin Garra-
laga, and others.
Suitability, Gass A.
144
HARRISON'S REPORTS
September 9, 1939
Since the lifeboat was not destroyed the four decide to sail
to Samoa with it. The hero resolves to give up drinking so
as to make a good husband to the heroine.
Comment : There is fast action all the way through. The
typhoon, if enacted realistically, should prove thrilling. The
employment of a submarine for pearl fishing is a novelty
and should prove interesting to the average spectator. The
forest lire, too, should thrill one.
Forecast : If produced well, the story should make a very
good melodrama, with good box office results.
"UNTAMED," the story of a young surgeon whose
health bieaks down because of dissipation. When he is
suspended he goes on a hunting trip to Northern Canada,
where the simple outdoor life soon restores his health. The
wife of the man who once had saved his life from a grizzly
bear, becomes infatuated with him. When he finds out
about it he decides to go away rather than hurt his friend's
feelings, but the breaking out of an epidemic compels him
to stay. He conquers the epidemic and stays in the village.
The girl from the city who loved him goes to him and
they marry.
Comment : There is a fair amount of interest. The infatu-
ation of the woman for the hero, who wants to remain true
to his friend, is not a pleasant incident. The hero's fighting
the epidemic and conquering it are acts that awaken some
sympathy.
Forecast : The story should make a fair or fairly good
picture, with the box office results depending oh the leads.
"WHAT A LIFE !," based on the stage play by Clifford
Goldsmith, with Jackie Cooper and Betty Field. It is a
story dealing with a high-school student who, in order to
satisfy his mother with a high mark, "cribs." But he is
caught and is expelled from school. But when the school's
"sheik" takes his girl away from him in addition to placing
on him the blame for a theft he had not committed he
exposes him, gets his girl back, and also wins a place in an
art school.
Comment: The play was produced April 14, last year,
and played to 81 performances. But there isn't much to this
story of school-boy escapades. To begin with, the young
hero "cribs" ; then again he does nothing to deserve sym-
pathy. The nart of the action that shows another student
stealing the school's band instruments and pawning them is
not edifying. Nor is the manner by which the young hero
exposes the guiltv student.
Forecast: The picture should turn out fair, with fairly
good to good box-office results, because of Jackie Cooper's
drawing powers.
BOX-OFFICE PERFORMANCES OF
1938-39 SEASON'S PICTURES — No. 2
First National
"Blackwell's Island." with John Garfield, Rosemary
Lane, and Stanley Fields; produced by Bryan For and
dire, ted by William McGann, from a screen play by Crane
Wilbur: Very Good-Fair.
"Dark Victory," with Bctte Davis, George Brent, and
Geraldine Fitzgerald; produced by David Lewis and di-
rected by Edmund Goulding, from a screen play by Casey
Robinson: Excellent-Very Good.
"You Can't Get Away with Murder," with Humphrey
Bogart, Gale Page, and Billy Halop; produced by Sam
Bischoff* and directed by Lewis Seiler, from a screen play-
by Robert Buckner, Don Ryan, and Kenneth Garnet : Good-
Poor.
"Confessions of a Nazi Spy," with Edward G. Robinson
and Paul I.ukas ; directed by Anatole Litvak, from a screen
play by Milton Krims and John Wexley : Excellent-Poor.
"Sweepstakes Winner," with Marie Wilson, Johnnie
Davis, and Allen Jenkins ; produced by Bryan Foy and
directed by William McGann, from a screen play by John
Kraft and Albert DeMond: Good-Poor.
"Code of the Secret Service," with Ronald Reagan and
Rosella Towne; produced by Bryan Foy and directed by
Noel Smith, from a screen play by Lee Katz and Dean
Franklin : Fair-Poor.
"The Man Who Dared," with Jane Bryan and Charley
Grapewin; produced by Bryan Foy and directed by Crane
Wilbur, from a screen play by Lee Katz: Fair-Poor.
"The Kid from Kokomo," with Wayne Morris, May
Robson, Joan Blondell, and Pat O'Brien; produced by Sam
Bischoff and directed by Ixw Seiler, from a screen play by
Richard Macauly and Jerry Wald : Very Good-Poor.
Twenty-one pictures have been released. Grouping thr
pictures of the different ratings from the beginning of the
season, we get the following results :
Excellent, 1 ; Excellent- Very Good, 1 ; Excellent-Good,
1 ; Excellent-Poor, 1 ; Very Good-Good, 1 ; Very Good-
Fair, 3; Very Good-Poor, 1 ; Good-Fair, 2; Good- Poor, 2;
Fair, 1 ; Fair-Poor, 7.
The first twenty-one pictures in the 1937-38 season were
rated as follows :
Excellent-Good, 2; Very Good-Good, 2; Good, 3; Good-
Fair, 3; Fair, 6; Fair-Poor, 5.
Metro-Gold wyn-Mayer
"Let Freedom Ping," with Nelson Eddy, Virginia Bruce,
and Edward Arnold ; produced by Harry Rapf and directed
by Jack Conway, from a screen play by Ben Hccht : Good-
Fair.
"Pygmalion," with Leslie Howard and Wendy Hiller ;
proui.ee i by Gabriel Pascal and directed by Anthony As-
quith and Ix-she Howard, from a screen play by George
Bernard Shaw: Excellent-Good.
"Ice Follies of 1939," with Joan Crawford, James Stew-
art, and Lew Ayres ; produced by Harry Rapf and directed
by Reirihold Schunzel, from a screen play by Leonard
Praskins, Floience Ryerson, and Edgar Allan Woolf :
Good- Poor.
"Within the Law," with Ruth Hussey, Tom Neal, and
Paul Kelly; directed by Gustav Machaty, from a screen
play by Charles Lederer and Edith Fitzgerald : Fair-Poor.
"Sergeant Madden," with Wallace Beery, Tom Brown,
Alan Curtis, and Laraine Day; produced by J. Walter
Ruben and directed by Josef VonSternbtrg, from a screen
piay by Wells Root : Very Good-Fair.
"Society Lawyer," with Walter Pidgeon, Virginia Bruce,
and Leo Carrillo; produced by John Considine, Jr., and
directed by Edwin L. Marin, from a screen play by
Frances Goodrich, Albert Hackett, Leon Gordon, and
Hugo Butler: Good-Poor.
"Broadway Serenade," with Jeanette MacDonald and
Lew Ayres ; produced and directed by Robert Z. Leonard,
from a screen play by Charles Lederer : Very Good-Fair.
"The Kid from Texas," with Dennis O'Keefe and Flor-
ence Rice ; produced by Edgar Selwyn and directed by
S. Sylvan Simon, from a screen play by Florence Ryerson,
Edgar Allan Woolf, and Albert Mannheimer : Fair-Poor.
"The Hardys Ride High," with Mickey Rooney and
Lewis Stone ; directed by George B. Seitz, from a screen
play by Agnes C. Johnston, Kay Van Riper, and William
Ludwig : Very Good-Good.
"Calling Dr. Kildare," with Lew Ayres, Lionel Barry-
more, Laraine Day, and Lana Turner; directed by Harold
S. Bucquet, from a screen play by Harry Ruskin and
Willis Goldbeck : Very Good-Fair.
"Lucky Night," with Myrna Loy and Robert Taylor;
produced by Lewis D. Lighton and directed by Norman
Taurog, from a screen play by Vincent Lawrence and
Grover Jones : Good-Poor.
"Tell No Tales," with Melvyn Douglas and Louise
Piatt; prorluced by Edward Chodorov, directed by Leslie
Fenton, from a screen play by Lionel Houser : Good-Fair.
"It's a Wonderful World," with Claudette Colbert and
James Stewart ; produced by Frank Davis and directed by
W. S. VanDyke, II, from a screen play by Ben Hecht :
Very Good-Fair.
"Bridal Suite," with Annabella and Robert Young; pro-
duced by Edgar Selwyn and directed by William Thiele,
from a screen play by Samuel Hoffenstein : Good-Poor.
"6,000 Enemies," with Walter Pidgeon and Rita John-
son ; produced by Lucien Hubbard and directed by George
B. Seitz, from a screen play by Bertram Millhauser : Good-
Fair.
"Tarzan Finds a Son," with Johnny Weissmuller and
Maureen O'Sullivan; produced by Sam Zimbalist and di-
rected by Richard Thorpe, from a screen play by Cyril
Hume : Very Good-Fair.
Forty pictures have been released. Grouping the pictures
of the different ratings from the beginning of the season,
we get the following results :
Excellent- Very Good, 3; Excellent-Good, 3; Excellent-
Fair, 1 ; Very Good-Good, 5 : Very Good-Fair, 6; Good, 1 ;
Good- Fair, 11 ; Good-Poor, 7; Fair-Poor, 3.
The first forty pictures in the 1937-38 season were rated
as follows :
Excellent, 1 ; Excellent- Very Good, 1 ; Excellent-Good,
2; Very Good-Good, 9; Very Good-Fair, 3; Very Good-
Poor, 1 ; Good, 8; Good-Fair, 12; Good-Poor, 1 ; Fair, 1 ;
Fair- Poor, 1.
Entered as second-class matter January 4, 1921, at the post ofRee at New York, New York, under the act of March 3, Itn.
Harrison's Reports
Yearly Subscription Rates: 1270 SIXTH AVENUE Published WaeWy by
United States $15.08 Rwim i ot o Harrison's Reports, Inc..
U. S. Insular Possessions. 16.50 KOOITl 1814 Publisher
Canada 18.50 New York, N. Y. P. S. HARRISON, Editor
Mexico, Cuba, Spain 16.50 , _ _. . . _
Orpat Rritain it « A Motion Picture Reviewing Service
Australia New ' Zealand,' Devoted Chiefly to tke Interests of the Exhibitors Established July 1, 1919
India, Europe, Asia .... 17.50
a r-wv rts Editorial Policy: No Problem Too Big for Its Editorial Circle 7-4M2
joc a <-opy Columns, if It is to Benefit the Exhibitor.
A REVIEWING SERVICE FREE FROM THE INFLUENCE OF FILM ADVERTISING
Vol. XXI SATURDAY, SEPTEMBER 16, 1939 No. 37
CUTTING DOWN PRODUCTION
BUDGETS
The closing of the moving picture theatres in
Great Britain last week as a war measure threw the
American producers into a panic. Consultation
after consultation was held by the heads of each
company in New York and by the studio executives
in Hollywood with a view to taking appropriate
measures to meet changed conditions.
The fear of the American producers in such
circumstances is not unnatural, for their revenue
from Great Britain is approximately forty per
cent of their entire receipts, and when even part of
it is jeopardized one cannot blame them for becom-
ing frightened.
According to Douglas Churchill, Hollywood
correspondent of the New York Times, Joseph
Schenck, chairman of the board of directors of
Twentieth Century-Fox, issued a week-end state-
ment last week informing the industry that, since
sixty per cent of his company's foreign business
had been sacrificed, a revision of its production
policy and drastic economies at the studio were
imperative.
Studio economies have already been effected by
this company by the discharge, according to Daily
Variety, of Hollywood, of three hundred em-
ployees. How many writers it will discharge, and
how much it will reduce the salaries of those that
will remain will not become known, / 'ariety says,
until later.
Mr. Churchill states that Edward Small has
decided to abandon production of "Pago Pago,"
"My Son, My Son," and "Two Years Before the
Mast," until market conditions improve.
Columbia announced last week that it has aban-
doned production of "Arizona.''
What pictures other companies have abandoned
or will abandon has not become known, but there is
no question that all will do some more or less,
except Universal, the president of which, Mr. Nate
Blumberg, accompanied by Mr. Cliff Work, studio
head, stated to a gathering of trade paper men that
Universal definitely will neither reduce any of its
budgets nor abandon the production of any of the
pictures that it contemplated producing. (It is safe
to assume that neither Republic nor Monogram will
make any retrenchment ; the heads of both com-
panies have assured this writer to that effect.) As
a matter of fact, Hollywood rumor has it that the
million dollar productions will be abandoned for
the time being, and that no more than $500,000
will be spent on the biggest pictures.
Sixty-five per cent of the theatres in Great Britain
have, of course, reopened, and this percentage will
increase as the war goes on and the British Govern-
ment finds that it is safe to increase it ; hut retrench-
ment at all major studios will, no doubt, he carried
on, with a view to preparing themselves for any
emergency that might arise.
Retrenchment at the studios is, indeed, praise-
worthy, provided picture quality does not suffer,
and the benefit from the reduced picture costs goes
also to the exhibitors ; but in this instance, not only
no indication has been given that the exhibitor's
weekly film bill will be smaller, but also the quality
of the pictures cannot help deteriorating, for the
major studios are geared to high production bud-
gets, and when such budgets are reduced the pro-
duction units are unable to adjust themselves to
the new budgets without considerable sacrifice.
Those film companies that announced either
studio economies or abandonment of certain of
their scheduled pictures have realized the error
they committed when they rushed to print with
their intentions and are now trying to offset the bad
impression they created in the minds of the ex-
hibitors by issuing reassuring statements. Colum-
bia, for example, stated this week that "Arizona"
has been, not abandoned, but postponed for a
period of sixty days. How can you be sure that it
has been merely postponed and not abandoned?
The contract, not only does not promise delivery of
any of the pictures it has announced in either the
trade papers or its private announcement book, but
also relieves the distributor of penalties should it
fail to deliver any of the pictures. Columbia offers
no guarantee that it will produce and deliver "Ari-
zona." Likewise with other distributors.
Those of you who bought your pictures before
the announcement of studio economies are entitled
to a reduction of your film prices and the bettering
of your terms, for in making up your mind what
prices to pay and what terms to accept vou were
influenced by what the distributors promised to
deliver and not by what they are now going to
deliver. You should insist ujK>n a readjustment.
THE PRODUCERS SHOULD BEGIN
ADJUSTING THEMSELVES TO
A NEW SALES POLICY
The Neely Bill will become a law. The major
companies know this better than anybody else. But
they are not beginning to adjust themselves to sell-
ing their pictures under the order that will be
created by this Bill ; and when it does pass, it will
throw them out of gear, and may even threaten the
very existence of some of them.
They should begin laying a foundation for the
new sales conditions now, and not wait until the
law is passed before taking (he necessary steps.
With the passage of the Neely Bill, it will be
unnecessary for them to become panicky under such
conditions as were created last week by the closing
down of the theatres in Great Britain. Had the
Neely Hill been a law, they could have reduced their
{Continued on last page)
146
HARRISON'S REPORTS
September 16, 1939
"Tropic Fury" with Richard Arlen,
Andy Devine and Beverly Roberts
(Universal [1939-40], October 13; time, 62 min.)
Fair program entertainment lor action fans. The back-
ground is sordid, tor most of the action takes place in the
Amazon jungle, where the rubber plantation workers, who
were held prisoners, are treated brutally. One is, however,
held in lanly len^c suspense, because of the clanger to both
the hero and the heroine, who become involved with the
brutal ruler of the jungle. Some of the fights may prove
enj'oyable to men. The romance is minimized;: —
Samuel S- Hauls, American rubber manufacturer, in-
duces Richard Arlen to go to the Amazon to investigate
plantation conditions. Four men, one an eminent scientist
(Charles Trowbiidge), who had been sent on the mission,
had disappeared mysteriously. Hinds, unaware that his
secretary (Milburn Stone) was in the pay of a foreign
power that was seeking monopoly of the rubber supply, had
given advance information to his organization. Arlen, when
he arrives, seeks to engage guides but is turned down. Two
strange men try to poison him. He is saved by Andy
Devine, a former American bartender, and they become
friends. Arlen mistrusts Beverly Roberts, a young Amer-
ican girl, who insisted on going into the jungle. By posing
as workers, Arlen and Devine manage to get passage to
the jungle, which, they discover, was ruled by brutal and
scheming Lou Merrill. It develops that Miss Roberts was
the daughter of the missing scientist; she finds her father,
a prisoner of Merrill's, with his memory gone. Arlen
obtains information about Merrill's cruelty to the workers.
When Allen's identity is discovered, Merrill plans to loll
him. In the meantime, the foreign agent, iecling that there-
was no need of Merrill any longer, plans to kill him. But
the workers, led by Arlen and Devine, revolt ; Merrill is
killed, and the foreign agent routed; Arlen takes charge.
Arlen and Miss Roberts, who had fallen in love with each
other, plan to marry.
Maurice Tombragel and Ben Pivar wrote the story, and
Michael L. Simmons, the screen play; Christy Cabanne
directed it, and Ben Pivar produced it. In the cast are
Lupita Tovar, Leonara Mudie, Noble Johnson, and others.
Suitability, Class A. Action, pretty fast.
"Dust Be My Destiny" with John Garfield
and Priscilla Lane
(First National [1939-40], Sept. 16; time, 88 min.)
A pretty strong melodrama. The action holds one in tense
suspense, but it is for the most part harrowing, in spite of
the fact that several situations are wildly melodramatic, the
story is interesting and even exciting; and, since it is made
evident from the very beginning that both the hero and the
heroine were innocent, one follows their fate with sym-
pathetic concern. The romance has been handled with re-
straint; it is made believable because of the good perform-
ances by the leading players. There is very little comedy : —
After having served a prison term for a crime he had not
committed, John Garfield is released when the real criminal
is found. Embittered by the experience, he travels around
the country as a hobo. At one point he is picked up on a
charge of vagrancy and sent to a county work farm. He
meets and falls in love with Priscilla Lane, step-daughter
of Stanley Ridges, the brutal, drunken foreman of the
farm. When Ridges finds them in each other's arms, he
starts abusing Miss Lane. Garfield gets into a fight with
him : suddenly Ridges falls dead from a heart attack.
Frightened, Garfield and Miss Lane run away and are
married. They are horrified to read that they had been
accused of the murder of Ridges, and that the police were
after them. Thereafter they lead the lives of fugitives, for
Garfield refused to go back and stand trial, since he felt he
would not be given a fair chance. Garfield becomes inter-
ested in photography and gets a scoop on a holdup. Alan
Hale, newspaper editor, excited because of the unusualness
of the pictures, gives Garfield his first real chance. But
again the authorities are close on their heels. Miss Lane,
unable to stand the strain any longer, gives Garfield away
to the police. Plale remains loyal and helps them at the
trial. The jury finds Garfield not guilty. Overjoyed, the
young couple look forward to a happy life together.
The plot was adapted from the novel by Jerome Odium ;
Robert Rossen wrote the screen play, Lewis Seiler directed
it, and Lou Edclman produced it. In the cast are Frank
McHugh, Billy Halop, Bobby Jordan, Charles Grapewin,
Henry Armetta, John Litel, and others.
Suitability, Class A. Tempo, fast.
"Five Little Peppers and How They Grew"
with Edith Fellows and Clarence Kolb
(Columbia, Auyust 22; time, 59 min.)
This human-interest comedy-drama is fairly good pro-
gram fare for the family trade. Lvcn though the story is
over-sentimental and a little maudlin at times, it should go
over with the rank and file, for there are several situations
that touch one's emotions and others that provoke laughter.
The simple plot may, however, bore sophisticated audi-
ences. There is no romance : —
Since the death of her husband in an accident, Dorothy
Peterson was compelled to work to support her five chil-
dren. Edith Fellows, one of the children, runs the house.
She becomes acquainted with Ronald Sinclair, whose
grandfather (Clarence Kolb) was extremely wealthy; he
becomes attached to the family and helps them in many
ways. Kolb, who was eager to obtain the half-interest in a
copper mine that Edith had inherited from her father,
knowing that the family was very poor and would take
anything he offered, pays them a visit at a time when tin-
mother had gone out of town to do factory work. While
there with Ronald, the children develop measles, and he
and Ronald are quarantined. It is then that Kolb becomes
a changed man ; he learns to love the children and does
everything he can to help them. Edith is the last one to
break down. She becomes blind temporarily. Kolb calls for
Miss Peterson, and induces her to move with all the
children to his home for a proper rest. Edith recovers her
sight. Overhearing a conversation about the mine, Miss
bellows misunderstands and insists on leaving Kolb's home
with her family. But he later explains everything, and the
family is overjoyed to learn that they would be wealthy,
for Kolb had arranged to work the mine as a partner. He
insists that they all continue living at his home.
The plot was adapted from the novel by Margaret
Sidney; Natalie Bucknell wrote the screen play, CharL-s
Barton directed it, and Jack Fier produced it. In the cast
are Dorothy Ann Seece, Charles Peck, James Leek, and
others.
Suitability, Class A. Tempo, a little slow.
"Smuggled Cargo" with Barry Mackay
and Rochelle Hudson
(Republic, Auyust 21 ; time, 62 min.)
There is fast action in this melodrama, but it is not
always pleasurable. One situation shows a mob attempting
to carry out a lynching threat against an innocent man ;
such action is extremely unpleasant and tends to put the
speetator in a nervous state. The story lacks novelty both
in plot and in development. As an entertainment, its appeal
should be directed mostly to those who demand action
above anything else : —
When a sudden frost sets in, a group of California orange
growers turn to their leader (Ralpb Morgan) for help.
Since oil was needed immediately for heating purposes,
Morgan's son (Barry Mackay) rushes to Arthur Loft for
it ; but Loft refuses to help unless the growers would sell
their product to him at an extremely low price. Mackay
and his pal (Cliff Edwards) overpower Loft and his com-
panion (John Wray) and take the oil. On the way back
their car breaks down ; they stop a car on the road. Mackay
forces the occupants (Rochelle Hudson and Berton
Churchill) to turn the car over to them, without realizing
that Churchill was their most important customer. When
he finds this out the next day, it is too late, for Churchill
had already made a deal with Loft. The orange growers
stand to be ruined and blame Morgan for mismanagement.
Mackay discovers that Loft was smuggling oranges across
the border, which was against the law. Morgan goes to see
Loft about this, and they quarrel. Wray, who hated Loft,
fires a shot at him from the window and kills him. Morgan
is arrested for the murder. Wray incites the orange grow-
ers to lynch Morgan. Mackay rushes to Churchill for help ;
he tells him what had happened. Churchill arrives at the
jail in time to prevent the lynching. He convinces the men
that Morgan was innocent and that, since he had discovered
that Loft had sold him contraband goods, he would place
his order with Morgan. Mackay then proves that Wray
was the murderer. Miss Hudson and Mackay realize they
are in love.
Michael Jacoby and Earl Felton wrote the original screen
play ; John H. Auer directed and produced it. In the cast
arc Wallis Clark and others.
Not for children. Suitable for adolescents and adults.
Class B.
September 16, 1939
HARRISON'S REPORTS
147
"The Day the Bookies Wept"
with Joe Penner
(RKO [1939-40], Sept. 15; time, 63 min.)
A good comedy. Although the story is thin, the picture
has many comical situations, amusing dialogue, and fast
action. Moreover, it provides Joe Penner with a part that
suits his talents well. It should entertain, not only the
Penner fans, but also others. The horse races are an added
attraction, providing excitement as well as comedy. The
romance is of minor importance :—
Joe Penner, a taxicab driver, trains pigeons in his spare
time ; he tries to save enough money so as to marry Betty
Grable, a waitress. Miss Grable-'s brother (Richard Lane),
also a taxicab driver, spends all his money betting on horse
races. He induces the other drivers to pool their resources,
buy the horse and to train it. But Penner wanted nothing of
trained pigeons, Lane chooses him as the logical person to
buy the hores and to train it. But Penner wanted nothing of
the scheme, until he loses his job. Then he agrees to go
down to Kentucky to buy the horse. He falls into the hands
of two crooks (Thurston Hall and Carol Hughes), who
sell him an ordinary horse, leading him to believe that it
was a thoroughbred. As soon as he arrives home, he starts
training the horse. But, to their dismay, the drivers find
that, not only was the horse costing them money, but they
could not make any money betting on him, for he came in
last in every race. Hal! arrives in New York and is sur-
pj ised to learn that the horse had been entered in an im-
portant race. Knowing that the horse could win if he drank
Leer, and wanting to place a substantial bet on him, he
sends a barrel of beer to the stable, which the horse drinks.
Miss Grable, who had overheard Hall tell his daughter
about his plans, insists, without revealing anything, that
her brother and Penner turn all their money over to her.
This she promptly bets on their horse. The horse races and
win ; Penner, Lane, and the others are heartbroken, but
their despair turns to joy when they learn what Miss
Grable had done.
Daniel Fuchs wrote the story, and Bert Granet and
George Jaske, the screen play; Leslie Goodwins dire ted
it, and Robert Sisk produced it. In the cast are Tom
Kennedy, Bernadcne Hayes, Jack Arnold, and others.
Suitability, Class A.
"Everything's On Ice" with Irene Dare,
Edgar Kennedy and Roscoe Karns
(RKO, October 13 ; time, 66 mm.)
Minor program fare. Young Irene Dare is a talented ice-
skater and does some difficult routines competently. But
audiences that have become accustomed to seeing expert
skating by Sonja Henie and others will demand of a pic-
ture more than just some fair skating routines. And that is
where this picture falls short, for it has nothing else to
offer. The story is silly, even irritating ; and there is nothing
that the performers can do with the material. The formula
romance is mildly pleasant : —
Roscoe Karns, who lived with his sister, brother-in-law
(Edgar Kennedy), and their two children (Irene Dare and
Mary Hart), does not work; instead, he spends his time
dreaming of making quick millions. By a stroke of luck, he
induces a booking agent to give him a contract for young
Irene to skate at a resort in Florida. Karns then leaves with
his sister, Irene, and Miss Hart, and is financed by Ken-
nedy, who had been trying to save enough money with
which to buy a barber shop for himself. As soon as Karns
arrives in Florida, he engages the most expensive suite at
t!ie hotel, and begins spending money lavishly. He attracts
the attention of George Meeker, who poses as a millionaire.
Karns tries to arrange a match between Meeker and Miss
Hart, but she had become interested in Eric Linden, a
bashful young man who appeared to be poor but who, in
reality, was a millionaire. Karns, not knowing of Linden's
wealth, break's up the friendship, and orders Miss Hart to
marry Meeker. It develops that Meeker was a crook, and
that he, thinking Miss Hart was wealthy, had planned to
marry her. Kennedy arrives to find that Irene's earnings
had been squandered and that Karns was in debt. He pavs
the bills and orders his family to return home. He then
urges Linden to induce Miss Hart to marry him. Every-
thing ends well ; Linden and Miss Hart marry, and Linden
opens a barber shop for Kennedy.
Adrian Landis and Sherman Lowe wrote the screen
play, Erie C. Kenton directed it, and Sol Lesser pro luced
it. In the cast are Lynne Robeits, Bobby Watson, Mary
Currier, Wade Boteler, and others.
Suitability, Class A. Tempo, fairly fast.
"The Women" with Norma Shearer
and Joan Crawford
(MGM [1939-40], Sept. 1 ; time, 132 min.)
A powerful box-office attraction. There is no doubt as to
its reception by women, for they will enjoy the story and
they will be thrilled by the lavish production, particularly
by the display of gorgeous clothes. Although there are no
men in the cast, male audiences should enjoy the picture,
for it has plentiful comedy and human appeal ; they will
probably find the actions oi the gossipy women exceedingly
amusing. The performances all around are excellent; but
one's sympathy is centered on Miss Shearer, w:ho shows the
finest traits of any of the characters in the picture : —
Miss Shearer, happily married, adores her husband and
her child (Virginia VVeidler). Through gossip channeL,
Rosalind Russell, one of Miss Shearer's friends and a
vicious gossiper, learns that Miss Shearer's husband was
having an affair with a shop girl (Joan Crawford). She
sees to it that Miss Shearer learns the facts ; and then
starts egging her on to do something about it. Humiliated
and miserable about the whole thing, Aliss Shearer goes
to Reno for a divorce. Even on the elay that the divorce is
granted she hopes for a reconciliation; but her dreams aie
shattered when she receives a long-distance telephone call
from her ex-husband informing her that he had married
Miss Crawford. Eighteen months later, Miss Shearer finds
out that Miss Crawford was having an affair with another
man, and that her ex-husband suil loved her. She is so
thrilled that she rushes to a fashionable night club where
all her friends, her ex-husband, and Miss Crawford were
present, and there, by means of a clever trick, makes the
truth known. Realizing that she was beaten, Miss Crawford
admits her guilt and agrees to a divorce. Miss Shearer and
her ex-husband are joyfully reunited.
The plot was adapted from the play by Clare Boothe.
Anita Loos and Jane Murfin wrote tne screen play, Geoig.-
Cukur directed it, and Hunt Stromberg produced it. In the
cast are Mary Boland, Paulette Goddard, Phyllis Povah,
Joan Fontaine, Lucile Watson, and others.
Not for children. Suitable for adolescents and adults.
Class B. Tempo, not too fast but action always interesting.
"Nurse Edith Cavell" with Anna Neagle
(RKO [1939-40], Sept, 29; time, 97 min.)
An artistic achievement. Supposedly based on the facts
surrounding the actions and eventual death of Edith Cavell
during the World War, it is actually a documentary film.
But that does not lessen either its dramatic value, or its
emotional appeal. It does not glorify war, nor does it try to
play up heroic actions on any one's part, although what
Nurse Edith Cavell and her friends did required the utmost
of courage. The story has been handled with restraint, and
the acting is subdued and natural. The picture, coming as it
does at a time when Europe has been plunged into another
war, may attract many picturegoers, even though it is not
cheerful entertainment ; it has no comedy relief or romance :
Nurse Edith Cavell, an Englishwoman, head of a nursing
home in Brussels, receives a visit from an elderly woman
(May Robson), who pleads with her to help her save her
grandson, who had escaped from a German prison camp,
and was hiding in his grandmother's store. In spite of the
fact that the town was completely under German super-
vision, and that if she were caught she would be arrested.
Nurse Cavell manages the escape, with the help of a
Countess (Edna May Oliver) and a peasant woman (Zasu
Pitts), owner of a barge. Learning that many soldiers were
lying on the battlefield wounded and unable to care for
themselves, Nurse Cavell, with the same assistants in
addition to others, goes out to the fields and brings back as
many as she can help. Since the Germans had taken over
her nursing home for wounded German soldiers, she is
compelled to hide her patients in the basement. Using the
same plan, she and the others manage to send the men out
of the country. The German Military head (Lionel Royce),
having heard about the smuggling, but being unable to
trace it, assigns a Captain (George Sanders) to make an
investigation. By planting a spy, he finally obtains informa-
tion and arrests all those involved. Nurse Cavell is sen-
tenced to death and, despite the intervention of the British
and American officials stationed in Brussels, the Germans
carry out the sentence so as to teach the people discipline.
Capt. Reginald Berkeley wrote the story, and Michael
Hogan, the screen play ; Herbert Wilcox directed and pro-
duced it. In the cast are H. B. Warner, Sophie Stewart,
Mary Howard, Robert Coote, and others.
Suitability, Class A. Tempo, somewhat slow.
148
HARRISON'S REPORTS
September 16, 1939
production budgets to meet the new conditions,
and there would be no justification for a complaint
by the exhibitors, for the pictures would command
whatever prices they would be worth, and not the
artificial prices that are set by the distributors now.
With the Neely Bill a law, economies in produc-
tion will be effected automatically, for the pro-
ducers, before starting the shooting of a picture,
will see to it that the screen play is "fool-proof";
in other words, it will be gone over thoroughly
with a view to making all the alterations needed
before shooting starts, so that no alterations may
be made during production, for it is in making
changes during production that sends costs high.
Very often, shooting starts before a screen play is
even written. Under such circumstances, a picture
costs three times as much as it would have cost had
there been a complete screen play.
Whenever a discussion of the Neely Bill comes
up between some proponent of the Bill and a
distributor representative, the distributor repre-
sentative always bewails the fate, not only of the
independent producer-distributor, but also of the
small exhibitor ; he says that both will be put out
of business if the Neely Bill should become a law.
It is peculiar that the majors do not confine them-
selves to looking after their own interests instead
of expressing so much concern for the interests of
the independents ; as long as the independents feel
that they can prosper under a law that outlaws
block-booking and blind-selling, the major com-
panies should let them take care of themselves.
BOX-OFFICE PERFORMANCES OF
1938-39 SEASON'S PICTURES— No. 3 '
Paramount
"King of Chinatown," with Akim Tamiroff, Anna May
Wong, and J. Carrol Naish ; directed by Nick Grinde,
from a screen play by Lillie llayward and Irving Reis:
Good-Poor.
"Midnight," with Claudette Colbert and Don Ameche ;
produced by Paul Jones and directed bv Elliott Nugent,
from a screen play by Don Hartman, Frank Butler," and
Preston Sturges : Very Good-Fair.
"Sudden Money," with Charlie Ruggles and Marjorie
Rambeau; produced by William C. Thomas and directed
by Nick Grinde, from a screen play by Lewis Foster : Good-
Poor.
"Silver on the Sage," with William Boyd and George
Hayes; produced by Harry Sherman and directed by
Lesley Selander, from a screen play by Maurice Geraghty :
V ery Good-Poor.
"I'm from Missouri," with Bob Burns and Gladvs
George ; produced by Paul Jones and directed by Theodore
Reed, from a screen play by John C. Moffitt and Duke
Attcberry : Very Good-Fair.
"Bulldog Drummond's Secret Police," with John How-
ard and Heather Angel ; produced by Edmund T. Lowe
and directed by James Hogan, from a screen play by
Garnett Weston : Fair-Poor.
"Never Say Die," with Martha Raye and Bob Hope;
produced by Paul Jones and directed by Elliott Nugent,
from a screen play by Don Hartman, Frank Butler, and
Preston Sturges: Good- Poor.
"Mack Door to Heaven," with Wallace Ford, Stuart
Krwin, and Patricia Ellis ; produced and directed by Wil-
liam K. Howard, from a screen play by John Bright and
Robert Pasker: Fair-Poor.
"The Lady's from Kentucky," with George Raft, Ellen
Drew, and Hugh Herbert; produced by Jeff Lazarus and
directed by Alexander Hall, from a screen play by Mal-
colm S. Boyland : Good-Poor.
"Union Pacific," with Joel McCrea and Barbara Stan-
wyck; produced and directed by Cecil B. DeMille, from a
screen play by Walter De Leon, C. Gardner Sullivan, and
Jesse Lasky, Jr. : Excellent-Very Good.
"Hotel Imperial." with Ray Milland, Isa Miranda, and
Reginald Owen ; directed by Robert Florey from a screen
play by Gilbert Gabriel and Robert Thoeren: Fair- Poor.
"Some Like It Hot," with Bob Hope and Shirley Ross ;
directed by George Archainbaud, from a story by Ben
Hecht and Gene Fowler : Fair-Poor.
"Unmarried," with Helen Twclvetrees and Buck Jones;
directed by Kurt Neumann, from a screen play by Lillie
Hayward and Brian Marlow : Fair-Poor.
"Stolen Life," with Elisabeth Bergner and Michael
Redgrave ; produced and directed by Paul Czinner, from a
screen play by Margaret Kennedy : Very Good-Poor.
"Gracie Allen Murder Case," with Gracie Allen, Kent
Taylor, and Warren William, produced by George Arthur
and directed by Alfred E. Green, from a screen play by
Nat Perrin : Good-Poor.
"Undercover Doctor," with J. Carrol Naish, Lloyd
Nolan, and Janice Logan; directed by Louis King, from a
screen play by Horace McCoy and William R. Lipman :
Fair-Poor.
"Invitation to Happiness," with Irene Dunne and Fred
MacMurray; produced and directed by Wesley Ruggles,
from a screen play by Claude Binyon : Excellent-Fair.
Forty-eight pictures have been released. Grouping the
pictures ot the different ratings from the beginning of the
season, we get the following results :
Excellent- Very Good, 1 ; Excellent-Fair, 1 ; Very Good-
( rood, 3 ; Very Good-Fair, 6 ; Very Good-Poor, 2 ; Good, 1 ;
Good-Fair, 8; Good-Poor, 10; Fair, 2; Fair-Poor, 14.
1 he first forty-eight pictures in the 1937-38 season were
rated as follows :
Excellent- Very Good, 1 ; Excellent-Good, 1 ; Very Good,
1; Very Good-Good, 2; Very Good- Fair, 3; Good, 3;
Good-Fair, 12; Good-Poor, 6; Fair, 10; Fair-Poor, 6;
Poor, 3.
RKO
" Twelve Crowded Hours," with Richard Dix and Lucille
Call ; produced by Robert Sisk and directed by Lew
Landers, from a screen play by John Twist: Good-Fair.
"The Saint Strikes Back," with George Sanders and
Wendy Barrie ; produced by Robert Sisk and directed by
John Farrow, fiom a screen play by John Twist: Good-
Fair.
"Trouble in Sundown," with George O'Brien and Rosa-
lind Keith; produced by Bert Gilroy and directed by David
Howard, from a screen play by Oliver Drake, Dorrell
McGowan, and Stuart McGowan: Good-Poor.
"Almost a Gentleman," with James Ellison and Helen
Wood ; produced by Cliff Reid and directed by Leslie Good-
wins, from a screen play by David Silverstein and Jo
Pagano : Fair-Poor.
"Love Affair," with Irene Dunne and Charles Boyer ;
produced and directed by Leo McCarcy, from a screen play-
by Delmar Daves and Donald Ogden Stewart : Excellent-
V ery Good.
"The Flying Irishman," with Douglas Corrigan, Paul
Kelly, and Eddie Quillan ; produced by Pandro S. Berman
and directed by Leigh Jason, from a screen play by Ernest
Pagano and Dalton Trumbo : Fair-Poor.
"They Made Her a Spy," with Sally Eilers and Allan
Lane ; produced by Robert Sisk and directed by Jack
Hively, from a screen play by Michael Kanin and Jo
Pagano : Good- Poor.
"Fixer Dugan," with Lee Tracy, Virginia Weidler, and
Peggy Shannon ; produced by Cliff Reid and directed by
Lew Landers, from a screen play by Bert Granet and
Paul Yawitz : Fair-Poor.
"The Rookie Cop," with Tim Holt, Virginia Weidler,
and Janet Shaw ; produced by Bert Gilroy and directed by
David Howard, from a screen play by Jo Pagano : Fair-
Poor.
"Sorority House," with Anne Shirley and James Elli-
son ; produced by Robert Sisk and directed by John Far-
row, from a screen play by Dalton Trumbo : Good-Fair.
"Panama Lady," with Lucille Ball and Allan Lane; pro-
duced by Cliff Reid and directed by Jack Hively, from a
screen play by Michael Kanin : Fair-Poor.
"The Girl from Mexico," with Lupe Velez and Donald
Woods ; produced by Robert Sisk and directed by Leslie
Goodwins, from a screen play by Lionel Houser and
Joseph A. Fields : Fair-Poor.
Thirty pictures have been released. Grouping the pictures
of the different ratings from the beginning of the season,
we get the following results :
Excellent, 1 ; Excellent-Very Good, 1 ; Good, 1 ; Good-
Fair, 10; Good-Poor, 5; Fair, 2; Fair-Poor, 10.
The first thirty pictures in the 1937-38 season were rated
as follows :
Excellent-Good, 2; Good-Fair, 5; Good-Poor, 5; Fair,
5; Fair-Poor, 11 ; Poor, 2.
Entered U eecond-class matter January 4, 1921, at the poet of&ee at New Yerk, New York, under the act of Me nil I, Mft.
Harrison's Reports
Yearly Subscription Rates: 1270 SIXTH AVENUE Published W»aJdy by
United States S15.00 p m , R1 9 Harrison's Repwte, Inc.,
U. S. Insular Possessions. 16.50 IVOOmiOlA Publisher
Canada 16.50 New York, N. Y. P. S. HARRISON, Bditor
Mexico, Cuba, Spain 16.50 . ,, . „ . _ .
Great Britain 15.75 Motton Plcture Reviewin* Service E.t«hH»h-a Mr l 1119
Australia, New Zealand, Devoted Chiefly to the Interests of the ExhrWtens Eatabhshed July 1. 1S19
India, Europe, Asia .... 17.50
,r„ _ n„„ Its Editorial Policy: No Problem Too Big for Its Editorial Circle 7-4«12
6 jc a copy Columns, if It is to Benefit the Exhibitor.
A REVIEWING SERVICE FREE FROM THE INFLUENCE OF FILM ADVERTISING
Vol. XXI SATURDAY, SEPTEMBER 23, 1939 No. 38
MISINTERPRETING THE PURPORT
OF THE NEELY BILL
Ever since the Brookhart Bill, which is the parent of the
present iNeely Bill, was introduced in Congress, 'the dis-
tributors and the exhibitor leaders whom they control have
told the exhibitors that, when this Bill becomes a law, they
will be deprived of the right to book more than one picture
at a time, notwithstanding the clarity of the language of the
Bill to the contrary.
Allied States Association and Harrison's Reports have
done everything that was possible to offset this propaganda,
and we have succeeded to a great extent ; but there are still
exhibitors who believe that, when the Neely Bill becomes
a law, they will not be able to book more than one picture
at a time.
With the object of setting the minds of such exhibitors
at rest, I am copying that part of Section 3 of the Bill as
will make it clear that the exhibitor does retain the right
to book at one time as many films as he wants to.
"Sec. 3. (1) It shall be unlawful for any distributor of
motion picture films in commerce to lease or offer to lease
for public exhibition films in a block or group of two or
more films and to require the exhibitor to lease ail such
films or permit him to lease none ; ... as to operate as an
unreasonable restraint upon the freedom of the exhibitor
to select and lease for use and exhibition only such film or
films of such block or group as he may desire and prefer to
procure for exhibition. ..." (Where the first dots are, I
have omitted intervening matter so as to prevent confusion,
but the omission of such matter does not in any way alter
the sense. The complete paragraph is reproduced at the end
of this editorial. )
Notice the sentence : "as to operate as an unreasonable
restraint upon the freedom of the exhibitor to select . . .
ONLY such film OR FILMS ... as he may desire ... to
procure . . . for exhibition." If the intent of the law were
to forbid the exhibitor from booking more than one film at
a time, it wrould not say "film or films" ; it would have said
"film."
What the law seeks to do is to forbid the distributor from
making the price of each feature of the group out of pro-
portion to the total price for the entire group with the
object of compelling the exhibitor to buy the entire group
of features, and thus perpetuate the monopoly ; the law
says that the exhibitor must retain the right to buy, at one
time, one or more films — such films as will prove suitable
for his needs.
With the object of preventing some opponent of the Bill
from feeling that the omission alters the meaning, I am
reproducing the entire first paragraph, italicizing the
omitted portion for clarity :
"Sec. 3. (1) It shall be unlawful for any distributor of
motion-picture films in commerce to lease or offer to lease
for public exhibition films in a block or group of two or
more films and to require the exhibitor to lease all such
films or permit him to lease none; or to lease or offer to
lease for public exhibition films in a block or group of two
or more at an aggregate price for the atirc block or group
and at separate and several prices for separate and several
films, or for a number or numbers thereof less than the total
number, which aggregate price and separate and several
prices shall bear to each other such relation (a) as to
operate as an unreasonable restraint upon the freedom of
an exhibitor to select and lease for use and exhibition only
such film or films of such block or group as he may desire
and prefer to procure for exhibition, or (b) as tends to
require an exhibitor to lease such entire block or group or
forego the lease of any number or numbers thereof, or (c)
that the effect of the lease or offer to lease of such films
may he substantially to lessen competition or tend to create
a monopoly in the production, distribution, and exhibition
of films; or to lease or offer to lease for public exhibition
films in any other manner or by any other means the effect
of which H'Oitld be to defeat the purpose of this Act."
Let u hope that no exhibitor will again be made to
believe urat, when the Neely Bill becomes a law, he will not
be able to book more than one film at a time.
In reference to Section 4, which makes it unlawful for
the distributor to offer to the exhibitor for sale a picture
unless such distributor first submits to him an accurate
synopsis of the contents of the film, allow me to say that
this requirement will prove the salvation of the producers,
for when the distributors are compelled to furnish such a
synopsis they will be ashamed of themselves to put into
pictures some of the junk stories they have been putting
into them, or to remake pictures indiscriminately. Such a
requirement will prove helpful also in cutting down the cost
of production by having, as has repeatedly been said in
these columns, a complete screen play before starting pro-
duction; it is in making changes during production that the
COSt is run high.
FALSE ECONOMY
The Hollywood trade journals convey the information
that some studios, in an effort to cut down the overhead
expense, have discharged many employees, and have cut
down the salaries of some of the others.
Perhaps the discharge of some of the employees was
justified on the ground that the work could be carried on
without them, but there is also no doubt that, in the case
of some studios, it was merely the effect of the panic that
seized executives.
Discharging employees whose salaries are small and
paring down the salaries of other such employees is not
real economy ; the combined savings from such a source
will not reduce studio overhead to any appreciable extent.
To effect real economy, there should be a reduction of —
(a) The highly-paid stars.
(b) The highly-paid directors.
(c) The highly-paid authors.
(d) The highly-paid executives, and there should be
(e) A discontinuance of paying for stage plays prices
such as $100,000 and as high as $250,000.
Some studio people may object to the suggestion that the
salaries of stars be reduced, on the ground that, what these
artists receive, they earn. Unfortunately, such is not always
the case. Experience has proved that some pictures of a
star do not draw one-half as many people as other pictures
of the same star. The difference in box-office appeal is the
result of the difference in the story quality, and often even
in the attractiveness of the title itself.
It is hardly necessary for this paper to cite examples ;
every one of you knows that such is the case. This proves
that, what Shakespeare said centuries ago about the play's
being "the thing" is as true today as it was then, and as
true of motion pictures as is and always has been of stage
plays.
Since it is the story that determines the value of a pic-
ture to the box office, it follows that the players are of
subordinate importance to the story. Consequently, a pro-
ducer should reduce the salaries of stars to take care of
the present emergency.
What is true of the stars is true of the directors: if the
director is given a good story, he can make a box office
picture ; if the story is poor, no matter how fine is his
direction it will be of no avail, unless he is able to make
such story alterations as will improve it.
As to the studio executives, much could be said to prove
that most of them are not entitled to receive what they are
receiving. Even those who are entitled to the salaries they
are now receiving could reduce them considerably in this
emergency. Already Darryl Zanuck and Joseph M. Schenek
(Continued on last page)
150
"Two Bright Boys" with Jackie Cooper,
Freddie Bartholomew and Melville Cooper
( Universal, September 15 ; time, 70 mm. )
A fairly good program entertainment. It mixes melo-
drama with comedy and human appeal, and, for the most
part, holds one's attention pretty well. The characters por-
trayed by Freddie Bartholomew and Melville Cooper are
somewhat on the shady side ; but, since they both give good
performances, one cannot help sympathizing with them.
The closing scenes, where they redeem themselves, are far-
fetehd, but that is incidental ; the important thing is that
there is excitement as well as comedy : —
Melville Cooper and his son (Freddie Bartholomew),
impoverished Englishmen travelling in America, strike up
an acquaintance on a train with Alan Dmehart, oil king.
By leading Uinehait to believe that Melville was the head
of a large English bank, they manage to obtain an invita-
tion to Dinehart s private car, where Melville engages in a
poker game with Dinehart and his friends. Having noticed
the signals that Freddie was giving to Melville, who was a
heavy winner, Dinehart realizes they were crooks, and
throws them out. Dinehart was having trouble with Jackie
Cooper, who owned valuable oil property, but who refused
to sell it to Dinehart. Knowing that Jackie would have
nothing to do with him, Dinehart engages Melville and
Freddie to help him out, threatening them with arrest if
they refused to do so. Melville, by again posing as a banker,
wins Jackie's confidence, as well as the admiration of his
widowed mother (Dorothy Peterson). He gives them a
loan for which he receives a note, which note he is com-
pelled to turn over to Dinehart, who hoped to use it to
foreclose on the property. But Melville and his son work
along with Jackie in an attempt to bring in the oil before the
note would fall due. Dinehart orders his men to break up
the equipment, during which Jackie's good friend and
assistant (J. M. Kerrigan) is killed: It is then that Jackie
finds out about Melville. He orders him off his property.
But Melville buys equipment in Dinehart's name, and in
company with a crew rushes to Jackie's assistance. They
bring in the oil in time to outwit Dinehart. All is forgiven.
Melviile is taken into custody for having issued a false
check, but Jackie promises to get him out. Miss Peterson
plans to marry Melville upon his release.
Val Burton and Edmund L. Hartmann wrote the screen
play, Joseph Santley directed it, and Burt Kelly produced
it. In the cast are Willard Robertson, Eddie Acuff, and
others.
Not for children. Suitable for adolescents and adults.
Class B. Action, fast.
"No Place to Go" with Dennis Morgan,
Fred Stone and Gloria Dickson
(First National [1939-1940], Sept. 23; time, 56 win.)
A mild program offering. It is doubtful if any but elderly
persons will enjoy it, for it deals with a theme that touches
them directly. The action is slow and hardly ever becomes
exciting enough to awaken one's interest ; moreover, spec-
tators are familiar with stories of this type. It has some
human appeal, due to the sympathy one feels for Fred
Stone, who is out of place in his married son's home. There
is no romance : —
Dennis Morgan, conscience-stricken because of the fact
that he lived comfortably while his father (Fred Stone)
lived at the Veteran's Home for the Aged, wins the consent
of his wife (Gloria Dickson) to bring his father into their
home. Fie writes to Stone, leading him to beiieve that he
needed him. Stone arrives, and not having anything to do,
makes a general nuisance of himself around the house,
causing the hired help to leave. Miss Dickson is frantic, but
restrains her temper. Stone becomes acquainted with a
young boy (Sonny Bupp), who earned his living shining
shoes. Bupp innocently tells his thieving uncle that Stone
kept a large sum of money in his trunk ; the uncle sneaks
into the house and steals the money. Stone is frantic when
he finds that the money had disappeared ; he thinks Sonny
had stolen it. But he finds out the truth, and, with the help
of his old cronies, forces the crook to return the money.
Having overheard Miss Dickson complain about his pres-
ence in the house, Stone decides to join a home for aged
gentlemen. He leads Morgan and his wife to believe that he
would be happier there, and in a way he would, for there he
could do as he pleased, and have friends of his own age.
The plot was adapted from a play by George S. Kauf-
man and Edna Ferber ; Lawrence Kimball, Fred Niblo, Jr.,
and Lee Katz wrote the screen play, Terry Morse directed
it. and Bryan Foy produced it. In the cast are Bernice
Pilot, Greta Meyer, Georgia Caine, and others.
Suitability, Class A. Tempo, slow.
"Blackmail" with Edward G. Robinson
(MGM, September 8; time, 81 min.)
This is an exciting melodrama, although some sensitive
persons may find it a little hard to take. The cruelties prac-
ticed on prisoners in chain gangs are vividly portrayed, and
are particularly harrowing because the hero, a victim of
the system, is known by the spectator to be innocent. One
is, however, held in tense suspense, for the action builds up
to a powerful climax in which the hero is finally vindicated.
1 here are side attractions to thrill the spectator, such as
oil well fires and the bravery displayed by men in fighting
them. Several situations touch one's emotions because of
the suffering of the hero : —
Edward G. Robinson, who had built up a successful oil-
well lire fighting business, is happy with his wife (Ruth
Hussey; and child (Bobs Watson;. But the arrival of Gene
Lockhart changes everything; Lockhart, a former friend,
knew that Robinson had been arrested tor a robbery, and
had been sentenced 10 a chain gang from which he had
escaped. He denies any blackmailing intentions, asking only
for a position. But finally he approaches Robinson with
w hat he really wanted ; he conlesses that he himself had
committed the robbery, and offers to give Robinson a
written confession for a large sum of money, part to be
given in cash and the other part in notes secured by a mort-
gage on an oil well belonging to Robinson. They send letters
to each other, enclosing what each wanted. But Lockhart
had placed a used stamp on his letter and the letter is, there-
fore, returned to him. Robinson realizes too late that he had
been tricked. Lockhart gives Robinson away to the police.
Kobinson is arrested and sent back to the chain gang. Dur-
ing his absence, Lockhart takes possession of the oil well,
which brings him wealth. Robinson again es.apes. By
setting lire to the well, he brings Lockhart into the open.
There, by means of threatening to throw hiin into the burn-
ing well, Robmson forces Lockhart, in the presence of
police, to confess. Robinson is finally cleared and is joyfully
reunited with his family.
Enure Bohcm and Dorothy Yost wrote the story, and
Dave Hertz and William Ludwig, the screen play ; H. C.
Potter directed it, and J. W. Considine, Jr., produced it. In
the cast aie Guinn Williams, John Wray, Arthur Hohl,
Ruth Hussey, Gene Lockhart, and others.
Too strong for children. Suitable for adolescents and
adults. Class B.
"Hero for a Day" with Dick Foran,
Anita Louise and Charles Grapewin
(Unh'ersal, October 6; time, 66 min.)
A moderately entertaining program picture. The story is
ordinary, and the action is rather leisurely. Football is a
minor issue, and not much footage is given over to it. The
game played in the closing scenes is fairly exciting — not
until the last minute to play does the hero's team win.
Although one feels some sympathy for Charles Grapewin,
the character he portrays is a bit weak, and so one does not
follow his actions with very much interest. The routine
romance is mildly pleasant : —
When Grapewin learns that his alma mater had been
invited to play a championship football game against one of
the big Eastern colleges, he is overjoyed. He had been in
his day a football player of renown and a popular student ;
every one had predicted a brilliant future for him, but he
had ended up by being a night watchman for a construction
company. The two children (Anita Louise and David Holt)
of his sister, with whom he lived, planned to go to the game
with him. Richard Lane, a publicity agent, who had been
appointed to awaken interest in the game, learns about
Grapewin's being a graduate of the western college. Taking
him for a wealthy man, he induces him to meet the players
upon their arrival. Miss Louise, posing as Grapewin's
daughter, suggests that he go through with the plans.
Backed by Miss Louise's employer (Berton Churchill), a
sports enthusiast, Grapewin is able to carry the deception
through. Dick Foran, the star player, and Miss Louise fall
in love with each other. Annoyed at what the sports writers
had said about his being conceited, Foran goes out on a
spree the night before the game ; Grapewin brings him to
his senses. On the day of the game, the truth about Grape-
win becomes known. Nevertheless, he inspires the team to
victory ; but the excitement overcomes him and he is taken
to the hospital. The coach of his college team offers him a
post on the athletic board, which he gladly accepts.
Matt Taylor wrote the story, and Harold Buchman, the
screen play ; Harold Young directed it, and Ken Goldsmith
produced it. In the cast are Emma Dunn, Samuel S. Hinds,
and others.
Suitability, Class A.
September 23, 1939
HARRISON'S REPORTS
151
"The Rains Came" with Myrna Loy,
Tyrone Power and George Brent
(20th Century-Fox, September IS ; time, 103 milt.)
An impressive cast, excellent production values, and an
interesting slory combine to make this a strong box-office
attraction. The masses will be drawn by the popular star
names, and class audiences, by the fame of the novel from
which the picture was adapted. But it is in the mechanical
end where the picture excels. The earthquake scenes, ac-
companied by a torrential downpour, are so realistic and
thrilling that the spectator is awed by them. For instance,
one sees streets suddenly caving in, forming pits into which
people fall ; buildings breaking up, and finally a dam burst-
ing, flooding the countryside, thereby causing havoc. There
are two romances, both handled with restraint. The one
involving Myrna Loy and Tyrone Power is the more
powerful, for it brings about the regeneration of Miss Loy,
who is at first presented as a calloused, thrill-seeking
woman. Her death touches one : — ■
George Brent, son of an English earl, and a portrait
painter by profession, settles in Ranchipur, India, where he
drinks to his heart's content and lives a lazy life. Brenda
Joyce, young and beautiful, falls in love with him and tries
to force her attentions on him, but he treats her like a child.
At a reception given by the Maharajah (H. B. Warner),
Brent is surprised to meet an old sw:eetheart (Miss Loy),
now married to wealthy, boorish Nigel Bruce. Bored by
her existence, she tries to revive the old flame, but Brent is
not willing. Then her attention focuses on Power, a bril-
liant young Hindu surgeon. What started out as a flirtation
develops into a passionate love affair. An earthquake and
flood brings havoc to the countryside. Bruce is among those
killed. Miss Loy, completely regenerated, devotes all her
time to working at the hospital, caring for patients who
were suffering from the plague that had broken out. The
Maharani (Maria Ottspenskaya), knowing that, since the
Maharajah had died, Power would have to take his place
as head of the government, asks Brent to send Miss Loy
away ; but she refuses to go. While working at the hospital,
Miss Loy accidentally drinks from a glass that had been
used by one of the plague patients. She becomes very ill ;
but she dies happy, knowing that Pow'er loved her as sin-
cerely as she loved him. Brent who, too, had changed,
finally marries Miss Joyce. Power takes his place as head
of the government.
The plot was adapted from the novel by Louis Bromfield ;
Philip Dunne and Julien Josephson wrote the screen play,
Clarence Brown directed it, and Harry Joe Brown produced
it. In the cast are Joseph Schildkraut, Mary Nash, Jane
Darwell, Marjorie Rambcau, Henry Travers, and others.
Suitability, Class A. Tempo, not too fast but always
absorbing.
"Rssler of the Seas" with
Douglas Fairbanks, Jr.
(Paramount, November 24; time, 96 mm.)
Although this is a finely produced picture, offering excel-
lent performances and an interesting story of the develop-
ment of the steam engine for ocean liners, its appeal will be
directed mostly to class audiences. As far as the masses are
concerned, the players, with the exception of Douglas
Fairbanks, Jr., are not strong box-office names ; moreover,
the Scottish dialect may prove disconcerting, for there are
times when it is a bit difficult to understand what is being
said. The action, although absorbing, moves at a somewhat
slow pace, that is, except for the opening and closing scenes,
which provide plentiful thrills. The thrills in the beginning
are caused by the fight waged by sailors during a storm at
sea; and in the end, by the thrilling fight of the crew to
bring the first ocean-going steam liner into port. Although
the love interest is incidental, it is portrayed charmingly by
hero and heroine.
The story revolves around two men, Will Fyffe, the in-
ventor of the steam engine for ocean liners, and Douglas
Fairbanks, Jr., a sailor, who had great faitk in the engine
and was finally able to induce men of wealth to test it. They
eventually prove the sea-worthiness of the engine, but in
doing so, Fyffe loses his life in an accident. Fairbanks and
Fyffc's daughter (Margaret Lockwood) fall in love with
each other.
Talbot Jennings, Frank Cavett and Richard Collins wrote
the story and screen play : Frank Lloyd directed and pro-
duced it. In the cast are Montague Love, David Torrencc,
Lester Matthews, and others.
Suitability, Class A.
"Honeymoon in Bali" with Madeleine
Carroll and Fred MacMurray
(Paramount, September 29; time, 95 mm.)
This sophisticated comedy-drama is very good class
entertainment ; it has a lavish production, witty dialogue,
and very good performances. It may go over with the
masses, too, because the story is highly romantic and has
human appeal. At times, the dialogue is quite suggestive ;
but so amusing is it that one cannot take offense. There are
a few situations that touch one's emotions ; these are caused
by the devotion the heroine shows for a young orphan child.
Two songs, sung by Allan Jones, are interpolated cleverly
and do not slow up the action : —
Madeleine Carroll, an extremely successful manager of
a Fifth Avenue store, meets and falls in love with Fred
MacMurray, a charming young man who was visiting New
York ; he worked in Bali. Having fallen madly in love with
Miss Carroll, he tries to induce her to marry him, for he
felt that love was more important than success ; she tries
to resist him, feeling that it would be wrong to give up the
luxurious life she had planned and worked for. Young
Carolyn Lee, a little girl who had been left in MacMurray's
care when her parents had died, wins Miss Carroll's love ;
she induces MacMurray to allow her to keep the child for
a time. MacMurray eventually demands a definite answer
from Miss Carroll and, when she again refuses him, he
takes Carolyn and goes back to Bali. Miss Carroll becomes
ill ; when she recovers she goes to Bali, ready to give up
everything for MacMurray. Upon her arrival she learns
that MacMurray was to be married the following day to
his employer's daughter (Ona Massen) ; she naturally
leaves. Back in New York, she decides to marry Allan
Jones, an opera singer, who had loved her for a long time.
But her plans are upset again when MacMurray arrives
with Carolyn ; she then learns that he had not been married.
She and MacMurray are joyfully united.
The plot was adapted from stories by Grace Sartwell
Mason and Katharine Brush. Virginia VanUpp wrote the
screen play, Edward H. Griffith directed it, and Jeff
Lazarus produced it. In the cast are Akim Tamiroff, Helen
Broderick, Astrid Allwyn, and others.
Not for children, but suitable for adolescents and adults.
Class U. It moves at a fairly last pace.
"The Escape" with Amanda Duff,
Kane Richmond and Edward Norris
(20th Century-Fox, October 6; time, 54 min.)
This melodrama, which is told in flashback, is strictly
adult fare, for its theme is demoralizing. An attempt is
made to glorify a character who, until the closing scenes, is
shown to be a criminal without any redeeming traits. An-
other character, a young boy, is shown pursuing a criminal
career in order to obtain easy money. The picture hasn't
even got the exciting quality that gangster pictures usually
have, for the pace is leisurely. The story is also depressing,
because of the sordid background. The romance is of little
help : —
Edward Norris returns from prison a hardened criminal.
In spite of the efforts of his father (Henry Armetta) to
help him, Norris prefers a life of crime. He is enraged
when his sister (Amanda Duff) announces her engagement
to Kane Richmond, a policeman. He tells her that he had
been the one who had killed Richmond's father in a holdup ;
when she hears this, she naturally breaks the engagement
without telling Richmond anything. The daughter (June
Gale) of one of the neighbors, who had been secretly mar-
ried to Norris, tells him that, while he was in prison, she
had given birth to their child, but that she had put the child
in an institution until such time as Norris could prove him-
self worthy of being a father. A young nephew of Miss
Gale's, who had been keeping bad company, steals a fur
neckpiece from the warehouse where his older brother
worked. He tells Norris how easy it was. Norris and his
pals plan to rob the warehouse. But Norris is caught, while
the others get away. He learns that his pals had kidnapped
the district attorney's child in order to compel him to
bargain with them. Learning from Miss Gale that the
kidnapped child was their own, having been adopted by the
district attorney, Norris induces Richmond to accompany
him to the hideout. In a fight with the gangsters, Norris,
as well as the others, is killed. Richmond saves the child.
Since Norris had admitted before he died that he had not
killed Richmond's father, Miss Duff feels free to marry
Richmond.
Robert Ellis and Helen Logan wrote the original screen
play, Ricardo Cortez directed it, and Sol M. Wurtzcl
produced it. Frank Reicher, and others are in the cast.
Unsuitable for children and adolescents. Adult fare.
Class B.
•Title is RULERS OF THE SEA.
152
HARRISON'S REPORTS
September 23, 1939
have set the example by cutting down their salaries ; that is,
if the report published in Hollywood papers is true.
About the $100,000 to $250,000 payment for stage plays,
no stage play lias ever been worth so much to a picture.
If the studios should hope to reduce their overhead, they
should, as said, reduce the salaries of the aforementioned
persons ; reducing the salaries of scrub women and of
janitors will not effect real economy.
Incidentally, the information that was printed in last
week's Harrison's Reports to the effect that the major
producers had decided to abandon the million dollar produc-
tions is true ; I have obtained a verification of it from an
unimpeachable authority. They may have reconsidered
their decision now localise of the furor that has been created
in the industry as a result of that decision, but it was true
originally ; these producers have been made to realize how
disastrous it would be if they should carry out their original
decision.
Let us hope that the studios will effect real economy, and
that the exhibitor will be the beneficiary of it in part.
BOX-OFFICE PERFORMANCES OF
1938-39 SEASON'S PICTURES— No. 4
Twentieth Century-Fox
"Charlie Chan in Honolulu," with Sidney Toler, Phyllis
Brooks, and John King; produced by John Stone and di-
rected by H. Bruce Humberstone, from a screen play by
Charles Belden : Good-Fair.
"Mr. Moto's Last Warning," with Peter Lorre, Ricardo
Cortez, and Virginia Field; produced by Sol M. Wurtzel
and directed by Norman Foster, from a screen play by
Philip MacDonald and Norman Foster: Good-Poor.
"Smiling Along," with Grade Fields; produced by
Robert T. Kane and directed by Monty Banks, from a
screen play by William Consehnan : Good-Poor.
"Jesse James," with Tyrone Power, Henry Fonda, Ran-
dolph Scott, and Nancy Kelly; produced by Nunnally
Johnson and directed by Henry King, from a screen play
by Nunnally Johnson : Excellent.
"The Arizona Wildcat," with Jane Withers and Leo
Carrillo ; produced by John Stone and directed by Herbert
I. Leeds, from a screen play by Barry Trivers and Jerry
Cady : Good-Fair.
"Tailspin," with Alice Faye, Nancy Kelly, and Constance
Bennett; produced by Harry Joe Brown and directed by
Roy Del Ruth, from a screen play by Frank Wead : Very
Good-Fair.
"The Three Musketeers," with Don Ameche, the Ritz
Brothers, and Binnie Barnes ; produced by Raymond
Griffith and directed by Allan Dwan, from a screen play by
M. M. Mussehnan, William A. Drake, and Samuel Hell-
man : Good-Fair.
"Pardon Our Nerve," with Lynn Bari, June Gale, and
Michael Whalen ; produced by Sol M. Wurtzel and di-
rected by H. Bruce Humberstone, from a screen play by
Robert Ellis and Helen Logan: Fair-Poor.
"Wife, Husband and Friend," with Warner Baxter,
Loretta Young, and Binnie Barnes ; produced by Nunnally
Johnson and directed by Gregory Ratoff, from a screen
play by Nunnally Johnson : Very Good-Fair.
"Inside Story," with Michael Whalen and Jean Rogers ;
produced by Howard J. Green and directed by Ricardo
Cortez, from a screen play by Jerry Cady : Fair-Poor.
"The Little Princess," with Shirley Temple, Richard
Greene, and Anita Louise ; produced by Gene Markey and
directed by Walter Lang, from a screen play by Ethel Hill
and Walter Ferris : Very Good-Fair.
"Everybody's Baby," with Jed Prouty, Shirley Deane,
and Russell Gleason ; produced by John Stone and di-
rected by Malcolm St. Clair, from a screen play by Karen
1 )eWolf, Robert Chapin, Frances Hyland, and Albert Ray :
Good-Fair.
"The Hound of the Baskervilles," with Richard Greene,
Basil Rathbone, and Wendy Barrie ; produced by Gene
Markey and directed by Sidney Lanfield, from a screen
play by Ernest Pascal : Very Good-Fair.
"Mr. Moto in Danger Island," with Peter Lorre, Jean
Hersholt, and Warren Hymer ; produced by John Stone
and directed by Herbert I. Leeds, from a screen play by
Peter Milne : Fair-Poor.
"The Story of Alexander Graham Bell," with Don
Ameche, I^oretta Young, and Henry Fonda ; produced by
Kenneth Macgowan and directed by Irving Cummings,
from a screen play by Lamar Trotti : Very Good-Fair.
"Winner Take All," with Tony Martin, Gloria Stuart,
and Henry Armetta ; produced by Jerry Hoffman and di-
rected by Otto Brower, from a screen play by Frances
Hyland and Albert Ray : Fair-Poor.
"Inspector Hornleigh," with Gordon Harker and Ala-
stair Sim ; directed by Eugene Forde, from a screen play
by Bryan Wallace : Fair-Poor.
"Return of the Cisco Kid," with Warner Baxter, Robert
Barrat, and Lynn Bari ; produced by Kenneth Macgowan
and directed by Herbert I. Leeds, from a screen play by
Milton Sperling: Good-Fair.
"Climbing High," with Jessie Matthews and Michael
Redgrave ; directed by Carol Reed, from a screen play by
Lesser Samuels: Fair-Poor.
"Chasing Danger," with Preston Foster, Lynn Bari, and
Henry Wilcoxon; directed by Ricardo Cortez, from a
screen play by Robert Ellis and Helen Logan : Fair-Poor.
"Rose of Washington Square," with Alice Faye, Tyrone
Power, and Al Jolson; produced by Nunnally Johnson and
directed by Gregory Ratoff, from a screen play by Nun-
nally Johnson: Very Good-Good.
"Boy Friend," with Jane Withers, Arleen Whelan, and
Richard Bond; produced by John Stone and directed by
James Tinling, from a screen play by Joseph Hoffman and
Barry Trivers : Good-Poor.
"The Gorilla," with the Ritz Brothers, Bela Lugosi,
Lionel Atwill, and Patsy Kelly; produced by Harry Joe
Brown and directed by Allan Dwan, from a screen play by
Rian James and Sid Silvers: Good-Poor.
"The Jones Family in Hollywood," with Jed Prouty and
Spring Byington ; produced by John Stone and directed by
Malcolm St. Clair, from a screen play by Harold Tarshis :
Good-Fair.
"Young Mr. Lincoln," with Henry Fonda and Alice
Brady ; produced by Kenneth Macgowan and directed by
John Ford, from a screen play by Lamar Trotti : Excellent-
Good.
"Charlie Chan in Reno," with Sidney Toler, Ricardo
Cortez, and Phyllis Brooks ; directed by Norman Foster,
from a screen play by Frances Hyland, Albert Ray, and
Robert E. Kent : Good-Poor.
"Susannah of the Mounties," with Shirley Temple, Ran-
dolph Scott, and Margaret Lockwood ; produced by Ken-
neth Macgowan, directed by William A. Seiter, from a
screen play by Robert Ellis and Helen Logan : Good-Fair.
Sixty-one pictures have been released. Grouping the
pictures of the different ratings, including two Gaumont-
British pictures, from the beginning of the season, we get
the following results :
Excellent, 3 ; Excellent-Good, 2 ; Very Good-Good, 3 ;
Very Good-Fair, 6; Very Good-Poor, 2; Good-Fair, 19;
Good- Poor, 12; Fair, 3; Fair-Poor, 11.
Fifty-seven pictures were released in the 1937-38 season.
They w:ere rated as follows :
Excellent, 2 ; Excellent- Very Good, 2 ; Excellent-Good,
2 ; Very Good-Good, 7 ; Very Good-Fair, 2 ; Very Good-
Poor, 1; Good-Fair, 21; Good-Poor, 8; Fair, 7; Fair-
Poor, 4 ; Poor, 1.
United Artists
"Prison Without Bars," with Edna Best ; produced by
Alexander Korda and directed by Brian D. Hurst, from a
screen play by Arthur Wimperis : Good-Poor.
"Wuthering Heights," with Merle Oberon, David Niven,
and Laurence Olivier ; produced by Samuel Goldwyn and
directed by William Wyler, from a screen play by Ben
Hecht and Charles MacArthur : Excellent-Good.
"Zenobia," with Oliver Hardy, Harry Langdon, Billie
Burke, and Alice Brady ; produced by Hal Roach and di-
rected by Gordon Douglas, from a screen play by Corey
Ford : Good-Poor.
"Cap.tain Fury," with Brian Aherne, Victor McLaglen,
and June Lang ; produced and directed by Hal Roach, from
a screen play by Grover Jones, Jack Jevne, and William
DeMille: Very Good-Fair.
Fifteen pictures have been released. Grouping the pic-
tures of the different ratings from the beginning of the
season, we get the following results :
Excellent-Good, 2 ; Very Good, 1 ; Very Good-Good, 2 ;
Very Good-Fair, 2 ; Good, 4 ; Good-Fair, 2 ; Good-Poor, 2.
The first fifteen pictures in the 1937-38 season were rated
as follows :
Excellent- Very Good, 4 ; Excellent-Good, 1 ; Very Good-
Good, 1; Good, 2; Good-Fair, 1; Good- Poor, 1; Fair, 3;
Fair-Poor, 1 ; Poor, 1.
Entered as seoand-elass matter January 4, 1921, at the post ofSee at New York, Now York, under the act ef Maroh 3, 18?9.
Harrison's Reports
Yearly Subscription Rates: 1270 SIXTH AVENUE Pubttsiie* W-*«*4y by
United States S15.00 P««~, 1 «1 9 Harrison's Reports. Inc.,
U. S. Insular Possessions. 16.50 IVOOm lOl^ Publisher
Canada 16.50 New York, N. Y. P. S. HARRISON, B«tor
Mexico, Cuba, Spain 16.50 . .. . _ .
Great Britain 15.75 A Motion Picture Reviewing; Service ....
Australia, New Zealand, Devoted Chiefly to the Interests of the Exhfbttors Established July 1, 1S19
India. Europe, Asia .... 17.50
,s„ _ p..,,- Its Editorial Policy: No Problem Too Big for Its Editorial Circle 7-«i2
a>G a uopy Columns, if It is to Benefit the Exhibitor.
A REVIEWING SERVICE FREE FROM THE INFLUENCE OF FILM ADVERTISING
Vol. XXI SATURDAY, SEPTEMBER 30, 1939 No. 39
MGM SECOND COMPANY
TO ADOPT CODE
Metro-Goldwyn-Mayer has just announced that it has
granted to the exhibitors most of the reforms that had been
incorporated in the rejected Code.
The following are the reforms that MGM has offered to
its contract holders :
(1) No forcing of shorts, newsreels or trailers if the
exhibitor should want only the features. To those who do
lease these units, the weekly-payment plan is optional.
(2) A score charge will not be made on any 1939-40
season's contracts, even if the exhibitors signed such
contracts subsequently to January 1, 1939.
(3) It will sell its pictures to any exhibitor provided the
company's revenue from any prior run is not affected
seriously.
(4) No designation of play-dates on pictures leased on a
percentage- with-minimum-guarantee basis.
(5) It will permit the exhibitor to cancel any picture
that might prove objectionable or offensive to his customers
on religious, moral, or racial grounds, provided that the
claim for such an exclusion is legitimate.
(6) The unrestricted privilege of cancelling 20% of the
feature pictures if the average cost per picture does not
exceed $100; 15%, if the average exceeds $100 but not
$250; and 10%, if such average is in excess of $250.
(7) Full consideration to be given to a customer's re-
quest for the interchanging of a picture that he may deem
unsuitable for preferred-time showing.
(8) Permission to an exhibitor to lease a lesser number
of feature pictures if such exhibitor's prior requirements
should make it impossible for him to lease all the MGM
feature pictures.
(9) A conscientious review of an exhibitor's complaint
on clearance and overbuying, with an attempt to adjust
such a complaint under the limitations of lack of means to
enforce such an adjustment. In other words, if a prior-run
exhibitor should demand clearance that is considered by the
complaining exhibitor unreasonable, or if an exhibitor has
bought more pictures than he needs with the purpose of
shutting the complaining exhibitor out of his share of the
product, MGM promises to employ its influence to induce
the unfair exhibitor to give up some of his MGM product,
or to modify his clearance, but the company has no means
by which it could compel the unjust exhibitor to do so.
MGM is now preparing a new contract form to embody
these concessions. The new form will contain an optional
arbitration clause similar to that which was contained in
the old form.
A Rider will be sent to all those who have already signed
a contract for the 1939-40 season's product, even as far back
as January 1, which Rider they may sign if they should
wish to operate under the new contract form.
' .'* * *
From the point of view of such exhibitors as have already
signed a contract for the 1939-40 season's product, some
of the reforms that have been offered, by MGM as well as
by Warner Bros., need clarification. The number of pic-
tures each class of exhibitors will have the right to cancel
from each group, for example, needs such clarification. If
the number of pictures a group contains is for instance, 10,
an exhibitor of the $100 price average per picture class will
have no difficulty in determining how many pictures he will
have the right to cancel. But suppose that the group con-
tains a lesser number! It is then when a clarification is
needed. The same is true of the other classes of exhibitors.
Another clarification is needed in the matter of shorts,
newsreels and trailers. Suppose an exhibitor has alread]
contracted for them along with the features, but feels that
he was compelled to do so out of fear of losing the features :
after signing the Rider, will he have the right to cancel
them, or as many of them as he desires ?
This office will endeavor to obtain a clarification of these
points from the home offices of these two companies, and of
whatever other companies may announce the adoption of
similar reforms, and will publish them in these columns.
I am sure that the distributors should wish to clarify these
matters so as to avoid creating new dissatisfactions.
WRONG, MR. HAYS!
Speaking to the members of the Regional Trust Company
Conference of the Pacific Coast, which convened in Los
Angeles last week, Mr. Will H. Hays, president of the
motion picture producers' organization, criticized the Fed-
eral Government on the ground that it harassed the motion
picture industry by its many lawsuits. He hit particularly
at Allied when he said, "If two or more groups are in com-
petition and one is seeking to gain advantage over the other
by Government regulation, then it is clearly not the busi-
ness of the government to take sides. The power of the
government should never be used to enable one citizen to
exploit another, or to give one branch of an industry undue
advantage over another."
In another part of his speech, Mr. Hays said:
"It is not always easy to tell when a business enterprise
is engaging in practices which result in more public harm
than in public good. It is a bad thing for the consumer if
one individual or group of individuals gets a monopolistic
corner on a commodity and forces the prices up. It was to
regulate this practice that our anti-trust laws were enacted.
But a curious paradox has ensued. It often happens that the
larger the concern the lower is the price to the public. So
in terms of the consumer's good, a monopoly is good or bad,
not because it is big and powerful, but because it respects or
disregards the public interest. Size is not sinfulness. ..."
Mr. Hays is right when he says that size is not sinfulness,
but he is wrong when he complains that the major motion
picture producer-distributors have been brought before the
courts only because they are big; they have been brought
before the judicial tribunals, not because they are big, but
because they are bad. This has been demonstrated re-
peatedly by the many judicial condemnations in their debit
column: starting with the case of Binderup v. Patht
Exchanges, Inc., case after case may be cited to show that
the major companies have been bad. In the Credit Com-
mittee and the Arbitration cases, the U. S. Supreme Court
said that they were bad — that they had conspired to do
wrong.
Here are a few more cases :
Standard Contract Conspiracy: United States v.
Paramount Famous Players Laskv Corporation (34 F.
(2d) 984); Fox Film Corporation v. Mutter (296 U. S.
207).
Conspiracy Regarding Protf.ction : Voungctaus v.
Omaha Film Foard of T rode; First National Pictures. Inc.,
v. Robinson; United States v. Interstate Circuit; United
States v. Balaban & Kate (Consent Decree); United
States v. West Coast Theatres (Consent Decree) ; United
States v. Fox-West Coast Theatres (Consent Decree).
Conspiracy Regarding Double Features : Pacinian v.
Warner Bros. Pictures, Inc.
Conspiracy to Boycott: Paramount Famous Lasky Co.
v. Stinnett (Texas) ; Pcckskill Theatre. Inc. v. Advance
Theatrical Co. (Loew's executives): United States v.
Warner Bros. Pictures. Inc. (D.C.S.D. N.Y. — Consent
Decree).
(Continued on last page)
154
HARRISON'S REPORTS
September 30, 1939
"Sky Patrol" with John Trent
and Mar jorie Reynolds
(Monogram, Sept. 12; time, 60 mih.)
As in the other two "Tailspin Tommy" pictures, this one
offers plentiful action for the fans. Although the story is
Somewhat far-fetched, it holds one's interest and holds one
in suspense, for what it lacks in plausibility is made up for
in fast and exciting action. The same players who appeared
in the two previous pictures appear in the leading parts
here also : —
John Trent and his pal (Milhurn Stone) train young
men for government sky patrol duty. The commander is
grateful to Trent for having covered up the cowardice of
his son (Jackie Coogan) during his examination Might;
but Trent had done so because he felt that once Coogan
got over the fright of handling guns he would be all right.
Word comes to the commander that a gang was conducting
a smuggling racket ; he assigns his men to different sections
to report suspicious characters. Coogan, flying over one of
the sections, orders a suspicious plane to report to him ;
instead they force hiin down, capture him, and hold him
captive on a boat with which they had been working in the
smuggling racket. Trent and Stone set out to investigate
when Coogan fails to appear. Their trail leads them to the
boat; they purposely permit themselves to be captured, so
as to find out if Coogan was on the boat. The gang leader
orders Trent to send a message to his commander to with-
draw his men; Trent does so, but at the same time he taps
out a code message giving his whereabouts. The patrol men
arrive in time to save their three comrades, who had
jumped from the boat just before it had blown up.
Hal Forrest wrote the story, and Joseph West and
Norton S. Parker, the screen play ; Howard Bretherton
directed it, and Paul Malvern produced it. In the cast are
Jason Robard, Boyd Irwin, Bryant Washburn, and others.
Suitability, Class A.
it. In the cast are Douglas Dumbrille, Regis Toomey, and
others.
Suitability, Class A. Action, fast.
"Thunder Afloat" with Wallace Beery,
Chester Morris and Virginia Grey
(MGM, September 15 ; time, 94 min.)
Not only is the subject matter of this picture timely, but
it offers patrons a rousing melodrama, centering around
submarine warfare ; it should hold audiences in tense sus-
pense throughout. There is plentiful comedy, which results
from the conflict between Chester Morris and Wallace
Beery, due to Beery's inability to take orders. Considering
war conditions today, picture patrons will most likely be
interested in the story, for it shows the methods employed
in fighting the German submarines during the World War.
It also serves as good propaganda for the U. S. Navy,
accomplishing its purpose without preachment ; instead, the
action emphasizes the bravery of the Navy men. The
romance is developed logically, but it plays a small part in
the plot :—
Wallace Beery, a tugboat Captain, and his daughter
(Virginia Grey), convinced that Chester Morris, rival tug-
boat owner, had scuttled their boat so as to get an important
contract for himself, trick him into joining the Navy. But
when Beery's refloated tugboat, with its cargo, is sunk by
a German submarine, he becomes so enraged that he decides
to join the Navy himself and single-handed fight the Ger-
inanr. Conflict arises when he is assigned to the fleet com-
manded by Morris, for he refuses to take orders. Being in
command of one of the sub-chasers, Beery leaves formation
without orders and goes in search of a submarine himself.
He is successful in locating it but. although he bombed
it. he did not sink it; he is injured. For his insubordination,
he is demoted to ordinary seaman. Disgusted, he tries to
desert, but Morris prevents him from doing so. Morris
orders him to accompany him and other Navy men on a
dangerous mission on board a fishing boat, which was to act
as a decoy for a sub-chaser. The submarine Captain learns
of their identity and starts firing at them. Beery is cap-
tured and taken aboard the submarine, but Morris and some
of the men get away and are picked up by the sub-chasers
that had been called to the vicinity. The submarine sub-
merges and is brought to rest on the bottom of the sea so as
to conceal its position ; but Beery taps with a heavy wrench,
and the U. S. Navy men start firing, forcing the submarine
up. Beery is saved, and the Germans captured ; the sub-
marine is then sunk. Beery is decorated. Morris and Miss
Grey, who had fallen in love, take leave of each other, for
Beery and Morris had been ordered to sail with convoy
ships.
Ralph Wheelwright and Com. Harvey Haislip wrote the
story, and Com. Haislip and Wrlls Root, the screen play;
George B. Seitz directed it, and J. Walter Ruben produced
"What a Life" with Jackie Cooper
and Betty Field
(Paramount, October 6; time, 78 min.)
An entertaining program picture ; it should fit in well as
a second feature. Since it revolves around high school
students, with all the action taking place at the school, it
should please the juvenile trade. The action and character-
izations may amuse adults, too, particularly parents who
have gone through the troubles that the hero's mother goes
through. Most of the laughter is provoked by Jackie
Cooper, who is constantly getting into trouble, from which
he finds it difficult to extricate himself. Cooper plays the
leading part naturally, thereby winning one's sympathy : —
Cooper, a high school student, tries to keep out of trouble
but is constantly in trouble due to the scheming of another
student (James Corner), a bully, who managed to get
away with everything because of his high scholastic rating.
Cooper is not a good student ; his talents lay in drawing,
which his parents disapproved of, for they wanted him to
be a brilliant student, as had been his father. The only
sympathy Cooper gets is from Betty Field. Knowing that
his mother would not permit him to go to the spring dance
with Miss Field unless he passed his history examination
with high marks, Cooper, who knew nothing about the
subject, copies from Corner's paper. But the teacher dis-
covers the deception and gives Cooper a zero mark in the
subject. To add to his troubles, Cooper is accused of
having stolen and pawned the musical instruments of the
school band. After a lecture from John Howard, the
assistant principal, who urged him to assert himself,
Cooper becomes a fighter. Knowing that Corner had
pawned the instruments, he confronts him at the school
dance and forces the truth out of him. His name cleared,
Cooper is accepted by every one, and goes to the dance with
Miss Field. Howard arranges to have him transferred to
an art school.
The plot was adapted from the play by Clifford Gold-
smith; Charles Brackett and Billy Wilder wrote the screen
play, and Jay Theodore Reed directed and produced it. In
the cast are Janice Logan, Vaughan Glaser, Lionel Stander,
Hedda Hopper, Dorothy Stickney, Lucien Littlefield, and
others.
Suitability, Class A. Action, at times a little slow.
"Konga, the Wild Stallion" with Fred Stone
and Rochelle Hudson
(Columbia, August 30; time, 65 min.)
Pretty good program entertainment for followers of out-
door melodramas, particularly for those who enjoy pictures
about horses. The story is simple, but has human appeal.
One bad feature, however, is the fact that the hero, for
whom one feels sympathy, is made to commit a murder.
People who are not horse fanciers and, therefore, cannot
appreciate the hero's feelings when he learns that his horse
had been shot, may not like the taking of a man's life be-
cause of a horse, even though the murder was committed in
self-defense. The romance is routine : —
Fred Stone and other horse breeders plead with wealthy
Robert Warwick, a newcomer, not to grow wheat, for it
would interfere with the freedom of their horses ; but
Warwick defies them and even puts barbed wire fences
around his property. Stone loved Kcnga, a wild horse he
had raised from a colt. When it becomes necessary for him
to give up his horses to pay for his mortgage, Stone is
happy when Konga runs away to the hills. Warwick's
daughter (Rochelle Hudson), who did not get along with
her father, is in sympathy with Stone. Warwick rounds up
wild horses, among them Konga. When Konga leads the
horses to stampede, Warwick shoots it. Stone quarrels
with him, and shoots and kills him in self-defense. But no
trace of the horse is found. Stone is arrested, tried, and
sentenced to ten years in prison. It later develops that Miss
Hudson had taken the wounded horse and brought it back
to health. She had refrained from saying anything for fear
it would spoil Stone's case. Her testimony brings a pardon
for Stone. Stone is happy when Miss Hudson marries his
son.
Harold Shumate wrote the story and screen play; Sam
Nelson directed it, and Wallace MacDonald produced it.
In the cast are Richard Fiske, Eddie Wallace, Don
Beddoe, George Cleveland, and others.
Suitability, Class A. Tempo, somewhat slow.
September 30, 1939
HARRISON'S REPORTS
155
"The Witness Vanishes" with Edmund Lowe
and Wendy Barrie
( Universal, Sept. 22 ; time, 66 win.)
This "Crime Club'' melodrama will do only for the most
ardent followers of murder mystery pictures. Audiences in
general will find the story confusing, extremely far-fetched,
and slightly silly in spots. The only reason why one remains
at all interested in the proceedings is the fact that the
murderer's identity is not made known until the end, al-
though it is obvious who he is. To its credit is the fact that
the action keeps moving at a fast pace, and the production
values are good. The romance is incidental. The action
takes place in London : —
Wendy Barrie, who, for ten years, had been led to believe
that her father was dead, learns, to her surprise, that he
was in a sanitarium, supposedly suffering from a nervous
ailment. At one time he had been a famous editor of a
successful newspaper, which had been stolen from him.
Miss Barrie is determined to see her father and, if possible,
restore him to his rightful place in the world. But before
she could do so, her father escapes ; and three men on the
newspaper, who had been connected with the plot to steal
the paper, are murdered, all clues pointing to the supposedly
insane editor as the murderer. Eventually it is proved that
the editor was innocent; he had been held a prisoner in the
home of Edmund Lowe, who himself had murdered his
three partners. He had been the ringleader of the crooks
and had killed his partners so as to have the newspaper for
himself; to cover up the crimes, he placed the blame on the
former editor. Knowing that he was trapped, Lowe smokes
a poisoned cigarette and dies. Miss Barrie is happy to be
reunited with her father, who makes his plans to start
editing the paper again.
James Ronald wrote the story, and Robertson White, the
screen play ; Otis Garrett directed it, and Irving Starr
produced it. In the cast are Bruce Lester, Walter Kings-
ford, Forrester Harvey, J. M. Kerrigan, and others.
Not for children. Suitable for adolescents and adults.
Class B.
"Jamaica Inn" with Charles Laughton
(Paramount, October 13; time, 99 min.)
This British-made production will probably do good
business, not because the picture itself merits it, but because
of the popularity of Charles Laughton, the star, and of
Alfred Hitchcock, the director ; also because of the fame of
the novel, which has been read widely. It is a lurid melo-
drama, centering around nefarious characters, who resort
to the most villainous acts to gain their ends. The action
is spotty: at times it is slow, but occasionally it becomes
quite exciting, holding one in tense suspense. Laughton
overacts a bit, but his performance is colorful and amusing ;
he dominates the picture. He is particularly good in the final
scenes, where he, realizing that he had been trapped, kills
himself. The romantic interest is of slight importance : —
Laughton, an English Squire, is respected and feared by
his neighbors ; he demanded high taxes, for he needed the
money to continue living in luxury. No one realized that
he was at the head of a murderous gang of cutthroats, who
caused ships to be wrecked to loot the ship of its cargo,
after killing the survivors. Not even the men in the gang
knew Laughton was the leader, for they took their orders
from Leslie Banks, owner of the Inn. To this Inn comes
Maureen O'Hara, niece of Banks' wife; soon she realizes
what was going on and is shocked. She saves the life of one
of the men in the gang, who had dared to object at the
binallness of his share of the loot. It later develops that this
man was a law officer; he had joined the gang in order to
obtain evidence against them. She escapes with this man
and goes to Laughton for protection. Laughton pretends to
go to the Inn with the law officer to make the arrests ;
instead he has the law officer bound, while lie makes his
escape. Before leaving, he kills Banks and his wife. He
gathers his belongings and prepares to leave for France,
forcing Miss O'Hara to accompany him. But the law
officer escapes and arrives at the boat in time to save Miss
O'Hara, with whom he had fallen in love. Laughton, real-
izing that he was trapped, kills himself.
The plot was adapted from the novel by Daphne du
Mauricr. Sidney Gilliat and Joan Harrison wrote the
screen play, and Frich Pommer produced it. In the cast are
Emlyn Williams, Robert Newton, Marie Ney, and others.
Not for children. Suitable for adolescents and adults
Class B.
"The Real Glory" with Gary Cooper,
Andrea Leeds and David Niven
(United Artists, Sept. 29; time, 96 min.)
An excellent melodrama. Even though the story is highly
exaggerated, the picture offers so many thrills that one's
attention is held to the very end. The battle between the
Philippine Constabulary and the native brigands in the
closing scenes is so exciting that one is held breathless.
Sensitive persons may be horrified at the fighting, for it is
gory, to say the least; but it is realistic. The picture has
been cast expertly. Gary Cooper is excellent as the fighting
doctor who shows extreme courage in the face of danger.
Romance and comedy are of minor importance, but both are
blended in with the action so well that they add to the
entertainment value of the picture. The action takes place
in the Philippines in 1906 : — -
Five American officers, headed by Reginald Owen, sta-
tioned at Mindanao, had the difficult task of training the
native constabulary to govern the island. The recruits
feared to fight against the Moros, a fierce, murderous
tribe that was trying to gain the rule of the island, to en-
slave the people. After killing two officers, the Moros dam
the river, shutting off the water supply, thus bringing
suffering to the natives. A cholera plague breaks out.
Cooper, the only doctor on the island, wages a terrific fight
against hopeless odds. Every one, including Andrea Leeds,
Owen's daughter, takes orders from Cooper, who pleads
with Owen to send some one to dynamite the dam so as to
start the flow of water. Broderick Crawford is sent, but
he is killed. Although Owen was going blind, he starts out
with a small contingent to do the work himself ; he takes
a native guide (Vladimir Sokoloff) with him, unaware of
the fact that he was a spy for the Moros. Cooper finds out
about Sokoloff in time to get to the contingent ; he dyna-
mites the dam himself. But then the fighting really starts.
Set upon by the Moros, the natives fight a losing battle,
until Cooper returns, and through strategy outwits and
conquers the Moros. Having brought peace and order to the
island, the remaining Americans, that is, Cooper, Owen,
who had gone totally blind, and Miss Leeds, leave the
Philippines. Cooper and Miss Leeds are united.
The plot was adapted from the novel by Charles L.
Clifford ; Jo Swerling and Robert R. Presnell wrote the
screen play, Henry Hathaway directed it, and Samuel
Goldwyn produced it. In the cast are Kay Johnson, Russell
Hicks, Benny Inccencio, Charles Waldron, and others.
Suitability, Class A.
"A Child Is Born" with Geraldine Fitzgerald
and Jeffrey Lynn
(Warner Bros. [1939-1940], Sept. 30 ; time. 79 min.)
When this was first produced in 1932, under the title
"Life Begins," it was a pretty powerful drama, even though
some persons might not have considered it pleasurable. The
present version is not different; but present-day audiences
may not consider it evea as powerful. Some of the situations
touch one's emotions, mainly because of the pity one feels
for the heroine. Women who have gone through childbirth
should sympathize with the characters and should live
through their own experiences again. But it is not a cheer-
ful entertainment, particularly for expectant mothers, for
it dwells on the difficulty of some cases ; it even shows the
heroine dying in childbirth. Occasional comedy in situations
as well as in dialogue helps to relieve the tension : —
Geraldine Fitzgerald, who was serving a twenty year
prison term on a murder charge, being about to become a
mother, is taken to a hospital maternity ward. The doctor,
realizing that her case was to be difficult, asks her husband
(Jeffrey Lynn) whether he wanted the mother to live or
the child. Lynn, who adored his wife, insists that the doctor
save her. But Miss Fitzgerald, knowing that she was to
spend the best part of her life in prison, insists that the
doctor save the child. Lynn is heartbroken when he hears
that his wife had died and refuses to see the baby. But
when the nurse tells him that Miss Fitzgerald's last wish
was that he find happiness with the child, his heart softens
and he takes the child in his arms.
The plot was adapted from the story by Mary KfcDougal
Axelson ; Robert Rossen wrote the screen play, Floyd
Bacon directed it, and Sam BischolT produced it. In the
cast are Gladys George, Spring Byington, Gale Page,
Johnnie Davis, Henry O'Neill, Gloria Holdcn, and others.
Not particularly suitable for children. Adolescent and
adult fare. Expectant mother! should not sec it. Class B.
Action, somewhat slow.
156
HARRISON'S REPORTS
September 30, 1939
Can there be submitted a more convincing proof that
"bigness" in the motion picture industry has invariably
made "badness"?
Mr. Hays is wrong also when he says that the Federal
Government is harassing the motion picture industry ; on
the contrary, what the Government is trying to do is to
eradicate the conditions that have retarded, one may say
stitled, the industry's progress, and, in their place, to create
conditions that will make a natural development jwssible ;
it is seeking to curb monopolistic practices that enable the
strong to gulp the weak. And in this effort, it has the wish,
not only of the theatre owners, but also of the American
public, which has become conscious of the inequities that
arc existing in the industry.
Mr. Hays says that big business is often beneficial to the
consuming public, because it is enabled to deliver its mer-
chandise to the consumers at a lower cost. But such is not
the case in this industry where the bigger the concern the
more it charges, not only the retailer but also the consumer.
Has lie read the U. S. Supreme Court's decision in the case
of Un!ried Slates z: Interstate Theatre Circuit of Texas?
Mr. Hays! It is bad to the consumer if, as you yourself
have said in your speech, one individual or group of in-
dividuals, by obtaining a monopolistic corner on a com-
modity, force prices up. But that is exactly what the mem-
bers of your association have been doing all along, as the
court decisions cited in this article have proved : they have
used their monopolistic control for years to send up the
prices of the commodity they are merchandising. It is to
prevent such a practice that the anti-trust laws were en-
acted— you agree to that. In its different actions in this
industry, the U. S. Government is doing nothing more than
invoking these laws to put an end to such a monopolistic
corner, so that the small and the weak may have a chance
to make a living. Let us hope that it will be successful.
THE RIGHT KIND OF ECONOMY
Mr. George J. Schaefer, president of Radio-Keith-
Orpheum Corporation, has just announced that, along with
the other companies, his company has found it necessary
to cut down the overhead because of the decreased foreign
revenue ; but he, instead of cutting down the salaries of
employees in the lower brackets, or even discharging some
of them, has confined the reductions to employees of the
higher brackets, and has discharged no lower bracket
employee. "No employee receiving $4,500 per year or less,"
he says, "will be affected. From this point upward a gradu-
ated scale will apply so that the largest salaries will receive
the largest percentage cuts. Some salaries will be cut over
35%"."
Harrison's RicroRTS takes this opportunity of congratu-
lating Mr. Schaefer for his wise plan of effecting economy
with as little suffering as possible.
BOX-OFFICE PERFORMANCES OF
1938-39 SEASON'S PICTURES— No. 5
Universal
"Society Smugglers," with Preston Foster and Irene
Hervey; produced by Ken Goldsmith and directed by Joe
May, from a screen play by Arthur Horman : Fair-Poor.
"Risky Business," with George Murphy and Dorothea
Kent; produced by Burt Kelly and directed by Arthur
Lubin, from a screen play by Charles Grayson : Fair-Poor.
"Spirit of Culver," with Jackie Cooper and Freddie
Bartholomew ; produced by Burt Kelly and directed by
Joseph Santley, from a screen play by Nathanael West and
Whitney Bolton : Good-Fair.
"Mystery of the White Room," with Bruce Cabot and
Helen Mack ; produced by Irving Starr and directed by
Otis Garrett, from a screen play by Alex Gottlieb: Fair-
Poor.
".Three Smart Girls Grow Up," with Deanna Durbin,
Charles Grapewin, Nan Grey, and Helen Parrish : pro-
duced by Joe Pasternak and directed by Henry Koster,
from a screen play by Bruce Manning and Felix Jackson :
Excellent-Very Good.
"The Family Next Door," with Hugh Herbert, Joy
Hodges, and Eddie Quillan ; produced by Max Golden and
directed by Joseph Santley, from a screen play by Mortimer
Offner : Fair- Poor.
"East Side of Heaven," with Bing Crosby, Joan Blon-
dell, and Mischa Aucr; produced by Herbert Polesie and
directed by David Butler, from a screen play by William
Conselman : Very Good-Good.
"Code of the Streets," with Harry Carey and Frankie
Thomas; produced by Burt Kelly and directed by Harold
Young, from a screen play by Arthur Horman: Fair-Poor.
"Big Town Czar," with Barton MacLane, Tom Brown,
and Eve Arden; produced by Ken Goldsmith and directed
by Arthur Lubin, from a screen play by Edmund Hart-
mann : Fair-Poor.
"For Love or Money," with June Lang, Robert Kent,
and Ed Brophy ; directed by Al Rogell, from a screen play
by Charles Grayson and Arthur Horman: Good-Poor.
"Ex-Champ," with Victor McLaglen, Tom Brown, and
Nan Grey; produced by Burt Kelly and directed by Phil
Rosen, from a screen play by Alex Gottlieb and Edmund L.
Hartmann : Very Good-Fair.
"They Asked for It," with William Lundigan and Joy
Hodges ; produced by Max Golden and directed by Frank
McDonald, from a screen play by Arthur Horman: Fair-
Poor.
"Inside Information," with June Lang, Dick Foran, and
Harry Carey; produced by Irving Starr and directed by
Charles Lamont, from a screen play by Alex Gottlieb :
Fair- Poor.
"The Sun Never Sets," with Douglas Fairbanks, Jr.,
Basil Rathbonc, and Virginia Fields; produced and di-
rected by Rowland V. Lee, from a screen play by W. P.
Lipscomb : Very Good-Fair.
"House of Fear," with Irene Hervey and William
Gargan ; produced by Edmund Grainger and directed by
Joe May, from a screen play by Peter Milne : Fair.
Forty-two pictures, excluding one western, have been
released. Grouping the pitcures of the different ratings
from the beginning of the season, we get the following
results :
Excellent- Very Good, 1 ; Very Good-Good, 2 ; Very
Good-Fair. 3; Good-Fair, 5; Good-Poor, 3; Fair, 8; Fair-
Poor, 19; Poor, 1.
The first forty-two pictures in the 1937-38 season were
rated as follows :
Excellent- Very Good, 1 ; Excellent-Good, 1 ; Very Good-
Good, 1; Good-Fair, 7; Good- Poor, 1; Fair, 12; Fair-
Poor, 18; Poor, 1.
Warner Bros.
"Secret Service of the Air," with Ronald Reagan, John
Litel, and James Stephenson ; produced by Bryan Foy and
directed by Noel Smith, from a screen play by Raymond
Schrock : Fair-Poor.
"The Oklahoma Kid," with James Cagney, Rosemary
Lane, and Humphrey Bogart ; directed by Lloyd Bacon,
from a screen play by Warren Duff, Robert Buckner, and
Edward E. Paramore : Very Good-Good.
"The Adventures of Jane Arden," with Rosella Towne,
William Gargan, and James Stephenson; produced by
Mark Hellinger and directed by Terry Morse, from a
screen play by Lawrence Kimble, Charles Curran, and
Vincent Sherman : Good-Poor.
"On Trial," with John Litel, Margaret Lindsay, and
Janet Chapman; produced by Bryan Foy and directed by
Terry Morse, from a screen play by Don Ryan : Fair.
"Dodge City," with Errol Flynn and Olivia dellavilland;
produced by Rol>ert Lord and directed by Michael Curtiz,
from a screen play by Robert Buckner: Excellent- Very
Good.
"Women in the Wind," with Kay Francis and William
Gargan; produced by Bryan Foy and directed by John
Farrow, from a screen play by Lee Katz and Albert
Demond : Good-Poor.
"Torchy Runs for Mayor," with Glenda Farrell and
Barton MacLane ; produced by Bryan Foy and directed by
Ray McCarey, from a screen play by Earle Snell : Fair-
Poor.
"Juarez," with Paul Muni, Bette Davis, and Brian
Aherne; produced by Henry Blanke and directed by
William Dieterle, from a screen play by John Huston,
Aeneas MacKenzie, and Wolfgang Reinhardt : Excellent-
V ery Good.
Twenty pictures have been released. Grouping the pic-
tures of "the different ratings from the beginning of the
season, we get the following results :
Excellent-Very Good, 2; Very Good-Good, 4; Very
Good-Fair, 1 ; Good, 1 ; Good-Fair, 5 ; Good-Poor, 2 ;
Fair, 2; Fair-Poor, 3.
The first twenty pictures in the 1937-38 season were
rated as follows :
Excellent-Very Good, 1 ; Very Good-Good, 3 ; Good-
Fair, 5; Good-Poor, 4; Fair, 2; Fair-Poor, 5.
IN TWO SECTIONS— SECTION ONE
Entered as second-class matter January 4, 1921, at the post office at New York, New York, under theact ef March 3, 1879.
IV. '
Yearly Subscription Rates: 1270 SIXTH AVENUE Published Weekly by
United States $15.00 p 1010 Harrison's Reports, Inc.,
U. S. Insular Possessions. 16.50 KOOm ioU Publisher
Canada 1C-50 New York, N. Y. p. s. Harrison, Editor
Mexico, Cuba, Spain 16.50 . • ., • * ,
Great Britain 15 75 A Motion Picture Reviewing Service
Australia, New Zealand, Devoted Chiefly to the Interests of the Exhibitors Established July 1, 1919
India, Europe, Asia .... 17.50
35c a Cony Its Editorial Policy: No Problem Too Big for Its Editorial Circle 7-4G£2
Columns, if It is to Benefit the Exhibitor.
A REVIEWING SERVICE FREE FROM THE INFLUENCE OF FILM ADVERTISING
Vol. XXI SATURDAY, OCTOBER 7, 1939 No. 40
JOE SCHENCK SUGGESTS THAT
YOU PAY MORE FOR FILM
TO OFFSET WAR LOSSES
Before leaving for his tour of Mexico and of
South America, Joseph M. Schcnck, chairman of
the board of directors of Twentieth Century-Fox,
issued a statement in which he suggested that the
exhibitors pay higher rentals so as to help the pro-
ducers overcome the loss of revenue from war-torn
Europe. He feels that such a step on your part is
necessary if the quality of the pictures is to be
maintained at the present level.
The way by which you could pay higher rentals,
he says, is for you to extend the playing time of
pictures whenever possible. In order to justify the
extension of playing time, it is necessary for you,
he says, to display greater showmanship and intro-
duce new ideas.
His suggestion about your displaying greater
showmanship and about introducing new exploita-
tion ideas leads us naturally to believe that today
you are not displaying proper showmanship, even
though you could, and that you are not introducing
new ideas, even though you could just reach out
for them and pick them out of some corner of
your brains.
Mr. Schenck's company employs high power
publicity and exploitation men. If you were not
employing the proper showmanship methods, he
should instruct these men to point out to you where
you are falling down; or if new ideas could be
introduced and you are not introducing them, it is
natural to assume that you do not find them. Such
being the case, why doesn't he tell you what new
ideas to introduce? If he cannot point them out to
you himself, he should at least instruct his $75,000
a year publicity men to conceive them and then pass
them on to you.
It is really sickening to hear the producers blame
you for lack of showmanship whenever their ex-
pensive pictures fail to draw people to your box
offices. It is easy for them to criticize your show-
manship methods, but hard for them to point out
to you how you could improve them. Why don't
they set an example by first improving the show-
manship of the theatres they themselves operate?
Incidentally, Mr. Schenck's organization has dis-
charged more than five hundred studio employees
so as to effect economy, thus adding to the unem-
ployment suffering, but I haven't read anywhere
any news item stating that Mr. Schenck has re-
duced his salary and has given up his bonuses.
How about it, Mr. Schenck?
WISHFUL THINKING
Some trade papers seem to be indulging in much
fun these days doing the thinking of the Govern-
ment. One of them stated that the theatre-owning
film companies have been advised by counsel not to
give up their theatres, on the ground that their legal
position is unassailable, and that the Government,
if they should stand their ground, may be willing to
accept a consent decree and let theatre divorcement
go by the wayside. This change of front, this paper
attributes to the European war.
Another trade paper stated that the Government
may go easy on the major companies on the suit
now pending in the District Court in this city, but
will hold its ground on theatre divorcement. Such a
change of front, this trade paper, too, attributes to
the war.
Where did they get such information? It isn't
any information at all : The statement in the first
trade paper was, no doubt, inspired ; that in the
second manifestly was not inspired, but that trade
paper, not to be outdone by the first trade paper,
went one step further and reversed the first trade
paper's (producers') wishful thinking.
The major companies should understand this
clearly : As regards the Neely Bill, Allied will
tight for its passage by the House of Representa-
tives at the next session of Congress as virilly as
it did when the Bill was in the hands of the Senate.
Besides, this matter is now out of the hands of the
Allied organization ; it is in the hands of the public
groups. Consequently, even if Allied were to have
been satisfied with the way that the Code took care
of blind-booking and blind-selling, and to have
accepted the Code as a result of it, the public groups
would still remain unsatisfied, and would undoubt-
edly push the Bill through Congress just the same.
As regards the question of theatre divorcement,
I am sure that the Allied leaders, as soon as the
questions of block-booking and blind-selling are
disposed of favorably, will concentrate their efforts
at putting a theatre divorcement bill either through
Congress or through as many state legislatures as
possible. And their success in South Dakota proves
that they can do it. Besides, there is the Department
of Justice: let no one be lulled, by wishful think-
ing, into the belief that the government will waiver
in its insistence upon the accomplishment of theatre
divorcement through the anti-trust suit now pend-
ing in the District Court in this city ; all signs point
to the fact that the government remains firm in its
determination, and its lawyers, inspired by their
belief in the justice of their cause, are working hard
preparing for a successful trial.
The best move that the producers can make right
now is to prepare themselves for the conditions that
will be created when block-booking has been out-
lawed, and theatre divorcement has become a fact ;
otherwise, they will find themselves in a much more
difficult position than that in which they found
themselves when the present Kuropean war started.
158
HARRISON'S REPORTS
October 7, 1939
"Espionage Agent" with Joel McCrea,
Brenda Marshall and Jeffrey Lynn
(first National, September 30; time, 82 min.)
The timeliness of the subject matter makes this a pretty
good box-office attraction, even though the picture itself
offers no more than a fairly good program espionage melo-
drama. It is a little slow in getting started ; it picks up
speed, however, as the story develops, and ends in an excit-
ing way. The manner in which the hero and the heroine un-
cover the spy ring is pretty far-fetched ; action fans will
probably overlook this, since the methods employed by them
result in many exciting situations. There is a pleasant ro-
mance. Tbe picture serves as propaganda for the United
States government to keep closer watch over spies : —
Joel McCrea, while attending to his duties as American
Consul in evacuating Americans from European war zones,
meets Brenda Marshall, a stranded American. He helps
her obtain her passport and sails with her on the ship back
to America. They fall madly in love with each other.
McCrea pleads with her to marry him, but she refuses, lest
she ruin his career if it should ever become known that she
had been connected at one time with foreign agents. He
refuses to hear anything about her past and finally per-
suades her to marry him. At Washington, after the mar-
riage, Miss Marshall comes upon one of the agents with
whom she had formerly worked. He insists that she obtain
certain plans for him, under threat of disgracing her and her
husband. That night she confesses everything to McCrea ;
he insists that they make the facts known to the government
officials, even though it meant the end of his career. McCrea
resigns from the diplomatic service, but urges government
officials to let him and Miss Marshall go to Europe to trace
the spy source. The officials agree. McCrea and Miss Mar-
shall accomplish the work they had set out to do, even
though on several occasions their lives were endangered.
They return to Washington, waiting for further assignments.
Robert H. Buckner wrote the story, and Michael Fessier,
Warren Duff, and Frank Donoghue, the screen play ; Lloyd
Bacon directed it, and Lou Edelman produced it. In the
cast are George Bancroft, Stanley Ridges, Martin Koaleck,
James Stephenson, and others. Suitability, Class A.
"Pack Up Your Troubles" with
Jane Withers, the Ritz Brothers
and Lynn Bari
(20th Century-Fox. October 20; time. 75 min.)
Pretty good entertainment. The action takes place dur-
ing the last World War; but with such players as Jane
Withers and the Ritz Brothers it naturally goes in for
comedy instead of war seriousness. The plot is thin ; but it
serves well enough as a framework for the comedy situa-
tions. The Ritz Brothers are quite amusing, particularly
when they get behind the German lines, where they are
mistaken for German soldiers and are treated as heroes.
The manner in which they outwit the German general
should provoke hearty laughter. Jane puts over two songs
very well. There is no romance : —
Just when the Ritz Brothers had an opportunity to obtain
bookings for their vaudeville act, the United States declares
war against Germany. Since they used German dialect in
their act, they could not get bookings. Following the advice
of another actor, they enlist in the Cavalry, expecting to
have an easy job. But they soon find themselves in France,
in the midst of serious fighting. They become friends with
Jane, a young orphan girl, whose father was (supposed to
have been) killed in battle ; but Jane learns that her father,
who was in the French Secret Service, was alive, mas-
querading as a German soldier, and further, that his life
was in danger. The Ritz Brothers try to help Jane get to
her father (Joseph Schildkraut ), which they succeed in
doing. But Lynn Bari. a German spy who had worked in
the French Inn with Jane, recognizes her when she visits
her father and tells the German authorities about it. They
arrest her father. In the meantime, the Ritz Brothers, who
had dressed in German uniforms in order to do their act
for the soldiers, are mistaken for real Germans and have
to run for their lives. They get into a balloon, which gets
loose from the mooring, and float over the German lines,
where they finally land. By pretending to have escaped
from a French prison, they are welcomed as heroes. They
recognize Jane's father and save him from the firing squad.
With the help of Schildkraut, they get the General across
the border and then arrest him. They receive medals for
their bravery.
Owen Francis and Lew Breslow wrote the screen play,
H. Bruce Humberstone directed it, and Sol M. Wurtzel
produced it. In the cast are Stanley Fields, Leon Ames,
Fritz Leiber, and others.
Suitability, Class A. Action, fairly fast.
"U-Boat 29" with Conrad Veidt
and Valerie Hobson
(Columbia, October 7; time, 79 min.)
This British-made production should prove interesting
entertainment for those who enjoy espionage pictures. The
action, which takes place during the World War, moves at
a fairly fast pace, keeping one in suspense throughout. A
commendable feature is the fact that no attempt is made to
take sides; it is just concerned with the espionage angle.
As a matter of fact, although one's sympathies are with the
British agents, one cannot help feeling sorry for the Ger-
man U-Boat commander, who displays courage in the face
of danger. A romance is worked into the plot without re-
tarding the action : —
Conrad Veidt, commander of a German submarine, is
given orders to contact a German spy at an English coast
village. The spy turns out to be Valerie Hobson. Working
with them is an English naval officer who, supposedly
bearing a grudge against his country because of a demo-
tion, pretends willingly to sell naval secrets to them. Veidt
has absolute faith in them. But he learns, to his dismay,
that they were actually British agents, and that the plans
they had given him whereby he was supposed to blow up
fifteen destroyers were just a trap. He manages to escape
and, disguised as a clergyman, to board a British ship.
Miss Hobson, too, is on this ship. Finding that there were
some German prisoners aboard, he releases them and, with
their help, takes over command of the ship, making the
British officers prisoners. Just then the submarine he com-
manded, which was cruising around awaiting his return,
emerges and begins firing; Veidt makes frantic efforts to
attract their attention so as to get them to stop firing at the
ship, but in vain. British destroyers arrive in time to sink
the submarine, and rescue the people. Veidt goes down with
the ship. Miss Hobson cannot help feeling sorry for him.
J. Storer Clouston wrote the story, and Eric Press-
burger, the screen play; Michael Powell directed it, and
Irving Asher produced it. In the cast are Sebastian Shaw,
Marius Goring, June Duprez, and others.
Suitability, Gass A.
"Here I Am a Stranger" with Richard
Greene, Richard Dix and Brenda Joyce
(20//j Century-Fox, September 29; time, 83 min.)
This is a pretty good human-interest drama. Although
the basic theme is not novel, the characterizations are fresh ;
and, since the performances are engaging, one's interest is
held throughout. One is in deep sympathy with the hero,
who shows fine traits, refusing to be forced into doing what
he considered wrong. There are a few situations that stir
one's emotions, and others that provoke laughter. Even the
romance is handled with charm : —
Gladys George, married to Richard Dix, a newspaper
man who could not keep a job because of his love for drink,
realizes that, for the sake of her baby son, she would have
to leave Dix, even though she loved him. She divorces him
and later marries George Zucco, a successful lawyer. Her
grown son (Richard Greene) leaves for college with his
cnum (Edward Morris). He becomes acquainted with
Roland Young, one of the professors. When Young learns
that he was Dix's son, he is overjoyed, for he had known
Dix when he was a student at the same college and had
admired him greatly. He urges Greene to visit his father,
who lived in Boston. So does Brenda Joyce, Young's
daughter, who had fallen in love with Greene. Greene does
so. Dix is overjoyed to see the boy; after a few meetings
the attachment between them grows. Inspired, Dix takes
hold of himself, obtains a job on a newspaper, and makes
good. One night, Greene rushes to him with the news that
Norris had knocked down a woman while driving in a
drunken condition, and that another boy was being held for
the accident. When Dix learns that the woman had died, he
urges Greene to tell the truth. Zucco pleads with Greene
not to say anything, since Norris' father was his most
important client and he would be ruined if he talked. But
Greene refuses. Then Norris' father decides that the best
thing for his son to do would be to give himself up. Miss
George, feeling that Dix was a bad influence for his son,
urges him to send him away. Dix leads Greene to believe
that he had taken $10,000 from Zucco to leave the country.
Noticing how unhappy Greene was, Miss George tells him
the truth and sends him to his father. There is a reunion.
Gordon M. Hillman wrote the story, and Milton Sperling
and Sam Hellman, the screen play ; Roy Del Ruth directed
it. and Harry Joe Brown produced it. In the cast are
Katharine Aldridge, Henry Kolker, and others.
Suitability, Class A. Tempo, not fast but action in-
teresting.
October 7, 1939
HARRISON'S REPORTS
159
"One Hour to Live" with Charles Bickford,
Doris Nolan and John Litel
(Universal, November 3; time, 59 min.)
A fair program gangster melodrama, suitable for adults
only. The action is last, holding one in suspense throughout
because of the constant danger to the hero. Since the spec-
tator knows that the hero was justified in suspecting the
villain and his henchmen of committing many crimes, in-
cluding murder, one is interested in the methods employed
by the hero in proving his case. The cold-blooded murders
committed by the villain are somewhat gruesome. There is
a touch of mystery in the plot, in that the identity of the
real leader is not disclosed until the end ; the disclosure
may surprise most spectators. The love interest is sus-
tained without interfering with the action : —
When Charles Bickford, detective inspector, insists on
arresting John Litel, big time racketeer, on a murder
charge, everyone thinks he had done so out of jealousy, for
Litel had married Doris Nolan, the girl Bickford loved.
As usual, Litel's lawyer (Robert Emmett Keane) obtains
his client's release on a court order. Bickford knows that
some powerful person was behind Litel, but he is unable to
find out who he was. When a well known boxer, managed
by Litel, is murdered, Bickford knows that Litel was the
murderer, for the fighter had double-crossed him, causing
him to lose a large sum of money on bets. But again an
arrest is of no avail, for Litel's lawyer obtains his release.
Bickford is warned by the police commissioner (Samuel S.
Hinds) to be careful; but when Bickford's detective pal
(John Gallaudet ) is murdered, and it is obvious to him that
Litel was behind the murder, Bickford goes wild. He
sneaks into Litel's apartment and, at the point of a gun,
forces him to confess ; he is then compelled to kill Litel in
self defense. In order to solve the case, Bickford permits
the police to arrest Miss Nolan as her husband's mur-
deress; a mysterious person obtains her release. Miss
Nolan goes to Hinds' home, hoping to obtain his help. To
her amazement, she learns that Hinds was the brains
behind the gang, and that he intended to kill her. She is
saved by Bickford, who, in company with other detectives,
had been hiding in Hinds' home and had overheard the
conversation. Hinds is arrested; Bickford and Miss Nolan
are united.
Roy Chanslor wrote the original screen play, Harold
Schuster directed it, and George Yohalem produced it.
Paul Guilfoyle, Jack Carr, and others are in the cast.
Unsuitable for children and adolescents. Adult fare.
Class B.
"Legion of Lost Flyers" with Richard Arlen,
Andy Devine and Anne Nagel
(Universal, November 17; time, 63 min.)
This action melodrama, centering around commercial
aviation, is a fair program entertainment. The main fault
lies in its comedy situations, which are not only silly but
tend to slow up the action. The whole comedy idea is that
of having an Eskimo woman, whose only means of expres-
sion is the word "ugh," eating grease intended for aero-
planes ; it is sickening. One feels some sympathy for the
hero, who had been accused unjustly of having committed
a cowardly act. The closing scenes, in which he forces the
real culprit to confess, hold one in suspense : —
Having been blamed for bailing out and leaving a plane
with five passengers to crash, Richard Arlen goes to
Alaska to find the man (William Lundigan) who had
actually piloted the plane. Arlen arrives at the commercial
flying field supervised by Theodore VonEltz. All the men
snub him, but Arlen's old friend (Andy Devine), who had
faith in him, induces VonEltz to give him a ground job as
his assistant. When Lundigan arrives from a flight, Arlen
tries to force him to confess, but Lundigan laughs at him;
they light, and the men sympathize with Lundigan, for they
did not know the facts. Anne Nagel, who lived with her
widowed sister, is attracted to Arlen, but he warns her not
to bother with him. Lundigan steals a plane containing a
gold shipment and crashes. Alien goes after him, and starts
off with him in his plane. But the plane is injured and
starts to break up. Arlen forces Lundigan, who was fright-
ened, to confess; this confession is heard at the airport,
and Allen's name is cleared. Lundigan bails out, leaving
Arlen to crash. Arlen survives, and marries Miss Nagel.
Ben Pivar wrote the story, and Maurice Tombragel, the
screenplay ; Christy Cabanne directed it, and Ben Pivar
produced it. In the cast arc Ona Munsen, Guinn Williams,
Jerry Marlowe, Leon Ames, and others.
Suitability, Class A. Action, a little slow in spots.
"Calling All Marines" with Donald Barry,
Helen Mack and Robert Kent
(Republic, September 20; time, 66 min.)
This program melodrama has plentiful action, but the
story is so unconvincing that its appeal will be directed
mostly to the undiscriminating who demand action in
preference to plausibility ; moreover, the basic theme is
routine. Since the hero is not regenerated until the end,
appearing throughout as a gangster who does not stop even
at betraying his own country, one naturally is antagonistic
towards him. In the end he does, however, win one's ad-
miration because of his courage ; and his regeneration is
satisfying. The production values are good, and so are the
performances. Romance and comedy are worked into the
plot :—
Donald Barry, member of a gang, receives orders from
his chief (Cy Kendall) to join the Marines so as to be in a
position to steal government plans wanted by foreign agents
with whom Kendall was working. Realizing that he would
not be accepted because of his police record, Barry and his
pals shanghai a young Marine recruit. Barry takes his cre-
dentials, and joins the Marines under the other man's name.
His tough manner and disrespect for government rules
makes him the most disliked man in his regiment. He seeks
opportunities to quarrel with Robert Kent, brother of
Helen Mack ; their quarrels lead to Kent's demotion. He
shows courage, however, in saving Kent from a fire aboard
ship, thereby winning everyone's friendship. Nevertheless
he goes on with the work he had started out to do : he
steals the plans and hides them in the butt of his gun, then
telephones the foreign agent, telling him where he could
find it. In the meantime, the young shanghaied recruit, who
had escaped, arrives at the Marine barracks and tells the
Commanding Officer what had happened. An officer is sent
to get Barry ; they find Kent taking the plans from the gun.
Kent refuses to talk : the truth was that Barry, realizing he
would be arrested, had asked Kent to get the plans and
destroy them. Barry's gang effect his escape. But when he
finds out that they planned killing him, he runs away in
company with his pal (Warren Hymer). Knowing that the
gang planned to steal the new torpedo model, Barry and
Hymer foil the plot ; the plotters are arrested. This time
Barry, who had become regenerated, is hailed as a hero,
and is accepted as a Marine. He plans to marry Miss Mack.
Harrison Carter wrote the story, and Earl Felton, the
screen play ; John H. Auer directed it, and Armand
Schaefer produced it. In the cast are Leon Ames, Selmer
Jackson, Janet McLeay, and others.
Suitability, Class A.
STATEMENT OF THE OWNERSHIP, MANAGEMENT, CIR-
CULATION, ETC., REQUIRED BY THE ACT OF CON-
GRESS OF AUGUST 24, 1912, AND MARCH 3, 1933. OF
HARRISON'S REPORTS, published Weekly at New York,
N. Y ., for Oct. 1, 1939.
State of New York.
County of New York.
Betore me, a Notary Public, in and for the State and County
aforesaid, personally appeared Sylvia Miller, who, haying been duly
sworn according to law, deposes and says that she is the business
manager of the HARRISON'S REPORTS and that the following is.
to the best of her knowledge and belief, a true statement of the
ownership, management, «tc, of the aforesaid publication for the
date shown in the above caption, required by the Act of August 24,
1912, as amended by the Act of March 3, 1933, embodied in section
537, Postal Laws and Regulations, to wit:
1. That the names and addresses of the publisher, editor, manag-
ing editor, and business manager, are:
Publisher, Harrison's Reports, Inc., 1270 6th Ave., New Y&rk, N. Y.
Editor, P. S. Harrison, 1270 6th Ave., New York, N. Y.
Managing Editor, None.
Business Manager, Sylvia Miller, 1270 6th Ave., New York, N. Y.
2. That the owner is: Harrison's Repot ts, Inc., 1270 6th Ave.,
New York, N. Y.
P. S. Harrison, 1270 6th Ave., New York, N. Y.
3. That the known bondholders, mortgagees, and other security
holders owning or holding 1 per cent, or more of total amount of
bonds, mortgages, or other securities are: None.
4. That the two paragraphs next above, giving the name of the
owners, stockholders, and security holders, if any, contain not only
the list of stockholders as they appear upon the books of the company
but also, in cases where the stockholder or security holder appears
upon the books of the company as trustees or in any other fiduciary
relation, the name of the person or corporation for whom such trustee
is acting, is given; also that the said two paragraphs contain state-
ments embracing affiant's full knowledge and belief as to the circum-
stances and conditions under which stockholders and security holders
who do not appear upon the books of the company as trustees, hold
stock and securities in a capacity other than that of bona fide owners;
and this affiant has no reason to believe that any other person, asso-
ciation, or corporation, has any interest direct or indirect in the said
stock, bonds, or other securities than as stated by him.
(Signed) SYLVIA M1I.LKK.
(Business Manager).
Sworn to and subscribed before me this 20th dav of September,
1939.
LILLIAN SILVER.
(My commission expires March 30, 1940.)
160
HARRISON'S REPORTS
October 7, 1939
HOPELESS REMAKES
Of the stories that have been remade this and
the last season none has so far proved a box-office
killer.
By this time the producers should have learned
from experience that the percentage of "hits'' from
among the remakes is, indeed, very small. The
reasons for it are many and varied. The chief
reason is. however, the fact that the stories are
outmoded: what was new and fresh when the pic-
ture was first shown is no longer so.
From among the stories that are chosen for re-
make, the most "treacherous" are fairly tales, ex-
cept in cartoon form, and stories the action of
which unfolds during two or more generations.
Twentieth Century-Fox has just announced that
it is going to produce Maeterlinck's "The Blue
Bird," with Shirley Temple. "The Blue Bird" was
produced by Paramount in 1918 and, artistically, it
turned out to be an excellent production — as ar-
tistic as any picture that had been produced by any
company up to that time. But at the box office it
"Hopped." is its box-office fate to be different now,
even with Shirley Temple? Twentieth Century-
Fox was prompted to produce it, no doubt, because
MGM produced "The Wizard of Oz." But MGM
spent on "Wizard of Oz" more than $3,000,000.
Can Twentieth Century-Fox afford to produce a
fairy-tale that will cost even one-hall such an
amount of money right now? Why not give Shirley
Temple, and the exhibitors, a better chance? Why
take the risk of a "flop" at a time when none can
afford it, least of all the producer?
RKO has just finished "Three Sons." This story
was put into pictures by the same company once
before (April 14, 1933), under the title "Sweep-
ings." It turned out poor, not only as an entertain-
ment, but also as a box office attraction, even though
Lionel Barrymore, an actor of proved merit and of
considerable help to the box office, appeared in the
leading part. This paper hopes that "Three Sons"
will prove a better box-office attraction than
"Sweepings."
The drawback with stories such as "Sweepings"
is, as said, the fact that, as soon as the spectator be-
comes acquainted with the players in the roles of
young people, he is asked to transfer his interest
to some other actors, who take the parts of the
grown up characters.
One. other serious drawback is the fact that such
stones contain more action than can be included in
the span of seven or eight reels ; often even eighteen
reels could not do justice to the material. As a
result, the producer is compelled to "skim" over
such parts as are necessary tor the proper develop-
ment of the situations, making the action of the
entire picture appear choppy.
It is about time that Hollywood gave up the idea
of trying to economize by producing remakes; it
is, at best, poor economy.
THE HORRORS OF WAR TO BE DISHED
OUT WITH VENGEANCE
ON THE SCREEN
According to Louella Parsons, motion picture
critic for the Hearst newspaper chain, the story
editors of the different film companies have re-
ceived orders to search for material with a war
background, on the model of the pictures produced
between 1914 and 1918.
There is no question that some war pictures will
go over. The danger is, however, that the successes
of these few will prompt every company to go to
the limit, with the result that the American people
will have war dished out to them from every side —
radio, newspaper, and motion picture, in addition
to having it before them constantly in conversation.
Under such circumstances we run the danger of
seeing recovery in this industry dashed to pieces,
for it is unlikely that the picture-going public will
relish such a condition.
If cheerful pictures were ever needed to calm
the American people, whose nerves have been over-
wrought by the constant pounding of war news,
that time is now.
The moving picture producers will render them-
selves and the American people a great service if
they should soft-pedal the war themes. Comedies
are needed more than anything else, and horror-
less dramas. We are going to have enough war
horror in real life; why have it also in entertain-
ment ? Wouldn't it prove too much ?
For the good of the business, war pictures should
be produced with extreme discretion.
PRODUCER CHIEFS WHO
DESERVE PRAISE
One other production head who deserves credit
for having done the right thing during the Holly-
wood upset that resulted from the war in Europe
is Louis B. Mayer. According to Mr. Douglas
Churchill, of The New York Times, when the
economy wave swooped down on Hollywood, and
some of the companies began discharging lower-
salary employees right and left, Mr. Mayer sent
for his executives and told them that the frenzy
that had seized the studios was unwarranted, and
that, if they did their work in the proper manner,
they could retain all employees, with the salaries
they are getting now, and yet cut down the studio
overhead at least fifteen per cent. He then pointed
out to them how they could effect such an economy,
without causing any suffering.
In the same article, Mr. Churchill pointed out
that considerable suffering was caused to small-
saiary employees by cuts and discharges at the
20th Century-Fox, Warner Bros., Paramount, and
Columbia studios.
George Schaefer, of RKO, has announced, as
said in last week's issue, that he has effected econ-
omy by a reduction in the pay of the higher-salary
employees. Columbia has announced that Harry
and Jack Cohen have voluntarily reduced their
salaries by one-third. These men, too, deserve
praise for their right kind of efforts.
When are the high-salaried executives of the
other companies going to announce a reduction of
their salaries? And when are all the companies
going to begin cutting down the exorbitant salaries
of stars, directors, producers and authors, and
eliminating many unnecessary items of overhead
expense running into huge sums ?
NO DELAY IN "MY SON, MY SON!"
According to an announcement by the United
Artists home office, there will be no postponement
in the starting shooting date of "My Son, My
Son !," which has been announced for production
by Edward Small.
The same announcement states that also "Kit
Carson, Avenger," is to go into production imme-
diately.
IN TWO SECTIONS— SECTION TWO
HARRISON'S REPORTS
Vol. XXI NEW YORK, N. Y., SATURDAY, OCTOBER 7, 1939 No. 40
(Partial Index No. 5 — Pages 126 to 156 Incl.)
Titles of Pictures Revicxved on Page
Adventures of Sherlock Holmes — 20th Century-Fox
(82 min.) 143
Angels Wash Their Faces — First Nat'l (85 min.) 134
Bad Lands— RKO (70 min.) 127
Beau Geste — Paramount (113 min.) 126
Behind Prison Gates — Columbia (62 min.) 135
Blackmail— MGM (81 min.) 150
Charlie Chan at Treasure Island — 20th Century-
Fox (73 min.) 134
Chicken Wagon Family— 20th Century-Fox (64m.) . . .135
Child Is Born, A— Warner Bros. (79 min.) 155
Coast Guard — Columbia (72 min.) 138
Colorado Sunset — Republic (64 min.) Not Reviewed
Conspiracy— RKO (59 min.) 138
Day the Bookies Wept, The— RKO (63 min.) 147
Death of a Champion — Paramount (66 min.) 143
Devil on Wheels — Warner Bros. (See "Indianapolis
Speedway") 114
Dust Be My Destiny — First National (88 min.) 146
Elsa Maxwell's Hotel for Women — 20th Century-
Fox (83 min.) 127
Escape, The — 20th Century-Fox (54 min.) 151
Everybody's Hobby — First National (See "The
Hobby Family") 139
Everything's on Ice — RKO (66 min.) 147
Fifth Avenue Girl— RKO (82^ min.) 139
Fighting Gringo, The— RKO (59 min.) 143
Five Little Peppers and How They Grew —
Columbia (59 min.) *T. 146
Flight at Midnight— Republic (65 min.) 142
Full Confession— RKO (72 min.) 139
Girl from Rio, The — Monogram (62 min.) 131
Golden Boy — Columbia (99 min.) 142
Hawaiian Nights — Universal (65 min.) 135
Heritage of the Desert — Paramount (78 m.)Not Reviewed
Hero for a Day — Universal (66 min.) 150
Hobby Family, The — First National (54 min.) 139
Honeymoon in Bali— Paramount (95 min.) 151
In Name Only— RKO (94 min.) 126
Irish Luck — Monogram (58 min.) 142
Island of Lost Men — Paramount (63 min.) 130
Jamaica Inn — Paramount (99 min.) 155
Konga, The Wild Stallion — Columbia (65 min.) 154
Lady of the Tropics— MGM (91 min.) 134
Man from Sundown — Columbia (59 min.) . .Not Reviewed
Man from Texas — Monogram (60 min.) Not Reviewed
Man They Could Not Hang, The— Columbia (63m.) . .142
Melody of Youth— United Artists (See "They Shall
Have Music") 115
Miracles for Sale— MGM (71 min.) 127
Mr. Wong in Chinatown — Monogram (70 min.) 130
Night Work— Paramount (61 min.) 131
No Place to Go— First National (56 min.) 150
Nurse Edith Cavell— RKO (97 min.) 147
Oklahoma Terror — Monogram (58m.) Not Reviewed
Old Maid, The— First National (95 min.) 131
Our Leading Citizen — Paramount (88 min.) 126
Playing with Dynamite — Warner Bros. (59 min.) 131
Queen of Destiny— RKO (See "Sixty Glorious
Years") 194/1938
Quick Millions— 20th Century-Fox (61 min.) 130
Rains Came, The — 20th Century-Fox (103 min.) 151
Real Glory, The— United Artists (96 min.) 155
Renegade Trail — Paramount (57 min.) .... Not Reviewed
Riders of the Frontier— Monogram (58m.) . Not Reviewed
Ruler of the Seas — Paramount (96 min.) 151
Sandy Takes a Bow — -Universal (See "Unexpected
Father") 122
Sky Patrol — Monogram (60 min.) 154
Smuggled Cargo — Republic (62 min.) 146
Stanley and Livingstone — 20th Century-Fox (101m.).. 127
Star Maker, The — Paramount (93 min.) 138
Stop, Look and Love — 20th Century-Fox (57m.) 143
These Glamour Girls — MGM (78 min.) 139
Thunder Afloat— MGM (94 min.) 154
Tropic Fury — Universal (62 min.) 146
Two Bright Boys — Universal (70 min.) 150
Under-Pup, The — Universal (87 min.) 138
Western Caravan — Columbia (58 min.) . . . .Not Reviewed
Wiiat a Life— Paramount (78 min.) 154
When Tomorrow Comes — Universal (90 min.) 130
Witness Vanishes, The — Universal (66 min.) 155
Wizard of Oz, The— MGM (100 min.) 134
Women, The— MGM (132 min.) 147
RELEASE SCHEDULE FOR FEATURES
Columbia Features
(729 Sei-enth Ave., New York, N. Y.)
9010 Blondie Takes a Vacation — Singleton July 20
9033 Behind Prison Gates— Donlevy- Wells July 28
9008 Coast Guard— Scott-Dee-Bellamy Aug. 4
9018 Man They Could Not Hang— Karloff Aug. 17
9017 Five Little Peppers and How They Grew —
Edith Fellows Aug. 22
9209 Riders of Black River— Starrett (59m.) . . . .Aug. 23
9034 Konga, The Wild Stallion— Fred Stone ....Aug. 30
9002 Golden Boy — Stanwyck-Menjou (reset) ...Sept. 5
(End of 1938-39 Season)
Beginning of 1939-40 Season
1025 Hidden Power— Jack Holt (60 min.) Sept. 7
1201 Outpost of the Mounties— Starrett (63m.) .. Sept. 14
1015 Those High Grey Walls— Connolly Sept. 21
U-Boat 29— Veidt-Hobson Oct. 7
Scandal Sheet — Kruger-Munson Oct. 16
Mr. Smith Goes to Washington — Stewart-
Arthur Oct. 19
Beware Spooks — Joe E. Brown-M. Carlisle ..Oct. 24
Miracle of Main Street — Abel-Margo Oct. 29
Blondie Brings Up Baby — Singleton- Lake ..Nov. 2
1020 The Stranger from Texas — Starrett Nov. 2
The Incredible Mr. Williams — Blondell-
M. Douglas Nov. 23
First National Features
(321 IV. 44th St.. New York, N. Y.)
367 Angels Wash Their Faces — Sheridan Aug. 26
376 Everybody's Hobby (The Hobby Family) —
Rich-O'Neill-Moran Aug. 26
{End of 1938-39 Season)
Beginning of 1939-40 Season
452 The Old Maid— Davis-Hopkins-Brent Sept. 2
461 Dust Be My Destiry — Garfield-P. Lane Sept. 16
469 No Place to Go— D. Morgan-Dickson-Stone. .Sept. 23
462 Espionage Aijent — McCrea-Marsliall Sept. 30
Grand National Features
(50 Rockefeller Plaza, New. York, N. Y.)
Wl-3 The Singing Cowgirl — D. Page (57 min.)..May31
Children of the Wild— Valeric-Bush Not set
Metro-Goldwyn-Mayer Features
(1540 Broadway, New York, N. Y.)
946 Miracles for Sale— R. Young-Rice Aug. 4
947 Lady of the Tropics— Taylor-LaMarr Aug. 11
948 These Glamour Girls — Ayres-Turner-Brown. Aug. 18
949 The Wizard of Oz — Garland-F. Morgan Aug. 25
{End of 1938-39 Season)
Beginning of 1939-40 Season
1 The Women — Shearer-Crawford-Russell Sept. 1
5 Blackmail — Rohinson-Hussey-Lockhart Sept. 8
4 Thunder Afloat— Beery-Morris Sept. 15
No release Sept. 22
3 Dancing Co-Ed— Lana Turner- R. Carlson . . . Sept. 29
6 Fast and Furious— Tone-Sothern Oct. 6
7 Ninotchka — Garbo- Douglas-Claire Oct. 13
8 Marx Bros. "At the Circus"— Rice-Baker Oct. 20
Monogram Features
(1270 Sixth Ave., Nciv York, N. Y.)
3866 Riders of the Frontier— Ritter (58m.) Aug. 9
3826 Irish Luck— Frankie Darro Aug. 22
3856 Oklahoma Terror— Randall (58m.) Aug. 25
3815 Sky Patrol— John Trent Sept. 9
3816 Danger Flight (Wings Over the Andes) —
John Trent Sept. 18
3808 Mr. Wong at Headquarters— Karloff Sept. 25
3831 Fight for Peace— Special (65 min.) Sept. 30
3803 Mutiny in the Big House (Murder in the Big
House) — Charles Bickford (reset) Oct. 10
3857 Overland Mail— Randall Oct. 31
{End of 1938-39 Season)
Beginning of 1939-40 Season
3936 Crashing Thru — James Newill Oct. 1
Riders of Destiny — John Wayne Reissue
(61 min.) Oct. 20
Sagebrush Trail — John Wayne Reissue
(59 min.) Oct. 20
Paramount Features
(1501 Broadicay, Nezv York, N. Y.)
Beginning of 1939-40 Season
3901 Death of a Champion — Overman-Dale Sept. 1
3954 Range War— William Boyd (65 min.) Sept. 8
3902 Beau Geste — Cooper-Milland-Donlevv Sept. 15
3903 $1,000 a Touchdown— Joe E. Brown-Raye. .Sept. 22
3904 Honeymoon in Bali— MacMurray-Carroll . . Sept. 29
3905 What a Life — Cooper-Field-Howard Oct. 6
3906 Jamaica Inn — Laughton-O'Hara Oct. 13
3907 Television Spy (World on Parade) —
Henry-Barrett (58 min.) (reset) Oct. 20
3908 Disputed Passage — Lamour-Howard (90m.) .Oct. 27
3955 Law of the Pampas — William Boyd Nov. 3
Geronimo — Foster-Drew-Devine Nov. 10
The Llano Kid — Guizar-Dunn-Mowbray ...Nov. 17
Republic Features
(1776 Broadway, New York, N. Y.)
846 Colorado Sunset — Autry (64 min. ) July 31
868 New Frontier — Three Mesq. (56 min.) Aug. 10
847 In Old Monterey — Autry (74 min.) Aug. 14
825 Smuggled Cargo — McKay-Hudson-Barbier ..Aug. 21
857 Wall Street Cowboy — Rogers (66 min.) Sept. 6
{End of 1938-39 Season)
Beginning of 1939-40 Season
911 Flight at Midnight— Regan-Parker Aug. 28
912 Calling All Marines— Barry-Mack-Kent .... Sept. 20
951 The Arizona Kid— Rogers (61 min.) Sept. 29
961 The Kansas Terrors — Three Mesq. (57m.) . . . .Oct. 6
RKO Features
(1270 Sixth Ave., New York, N. Y.)
936 In Name Only — Lombard-Grant-Francis ....Aug. 18
935 Conspiracy — Lane-Hayes Sept. 1
986 The Fighting Gringo — Geo. O'Brien (reset) .. Sept. 8
934 Fifth Avenue Girl — Rogers-Connolly Sept. 22
946 Everything's on Ice — Dare-Kennedy Oct. 6
{more to come)
Beginning of 1939-40 Season
003 Full Confession — MacLaglen-Eilers Sept. 8
002 The Day the Bookies Wept — Penner-Grable. . Sept. 15
001 Nurse Edith Cavell— Neagle-Oliver-Pitts ..Sept. 29
004 Three Sons— Ellis-Gargan-K. Taylor Oct. 13
010 The Flying Deuces — Laurel-Hardy Oct. 20
006 Allegheny Frontier — Wayne-Trevor Oct. 27
061 Queen of Destiny — Neagle-Walbrook Nov. 3
081 The Marshal of Mesa City— Geo. O'Brien Nov. 3
007 Vigil in the Night— Lombard-Aherne Nov. 10
008 Reno— Dix-Patrick-Louise Nov. 17
Twentieth Century-Fox Features
(444 W. 56th St., Nezv York, N. Y.)
006 Charlie Chan at Treasure Island — Toler Sept. 8
011 The Rains Came — Power-Loy-Brent Sept. 15
008 Stop, Look and Love — Rogers-Frawley Sept. 22
009 Here I Am a Stranger — Greene-Dix-Joyce . . Sept. 29
010 The Escape — Richmond-Duff-Gale-Norris ...Oct. 6
007 Hollywood Cavalcade — Faye-Ameche (re.) ..Oct. 13
061 The Road to Glorj — Reissue (101 min.) Oct. 13
014 Pack Up Your Troubles— Withers-Ritz Oct. 20
018 Shipyard Sally— Gracie Fields-S. Howard ....Oct. 20
013 20,000 Men a Year— Scott-Foster-Lindsay ....Oct. 27
062 The First World War— Reissue (78 min.) . . . .Oct. 27
019 Heaven with a Barbed Wire Fence— Rogers .. Nov. 3
015 Drums Along the Mohawk — Colbert-Fonda ..Nov. 10
016 The Jones Family in Too Busy to Work —
Prouty-Byington Nov. 17
020 Day-Time Wife— Power-Darnell-Barnes ....Nov. 24
United Artists Features
(729 Seventh Ave., New York, N. Y.)
They Shall Have Music — McCrea-Heifetz-Leeds. Aug. 18
Intermezzo: A Love Story — Howard-Bergman. .. Sept. 22
The Real Glory — Cooper-Leeds-Niven-Owen .... Sept. 29
Eternally Yours — L. Young-D. Niven .: Oct. 6
The Housekeeper's Daughter — J. Bennett-Menjou.Oct. 12
Universal Features
(1250 Sixth Ave., New York, N. Y.)
A3031 The Forgotten Woman — Gurie-Briggs ....July 7
A3008 Unexpected Father— Auer-O'Keefe July 14
A3007 I Stole a Million — Raft-Trevor July 21
A3003 When Tomorrow Comes — Dunne-Boyer ..Aug. 11
First Love— Durbin-Pallette (reset) Oct. 20
{End of 1938-39 Season)
Beginning of 1939-40 Season
4051 Mutiny on the Black Hawk — Arlen-Devine. .Sept. 1
4010 The Under-Pup — Cummings-Grey Sept. 1
4044 The Mikado— Kenny Baker Sept. 8
4058 Desperate Trails— Brown-Baker (58m.) ...Sept. 8
4024 Hawaiian Nights — Downs-Carlisle (reset) .Sept. 8
4017 Two Bright Boys (Bad Company) — Cooper-
Bartholomew (reset) Sept. 15
The Witness Vanishes — Lowe-Barrie Sept. 22
Rio — Gurie-Rathbone (reset) Sept. 29
Hero for a Day — Louise-Foran-Grapewin . . . Oct. 6
Tropic Fury — Arlen-Devine Oct. 13
Tower of London — Karloff-Rathbone Oct. 13
4059 Oklahoma Frontier— Brown (58 min.) Oct. 20
Little Accident — Sandy-Herbert Oct. 20
Green Hell — Fairbanks, Jr. -J. Bennett Oct. 27
One Hour to Live — Bickford-Nolan Nov. 3
Warner Bros. Features
(321 W. 44th St., Neiu York, TV. Y.)
326 Playing with Dynamite — Wyman-Jenkins . . . .Aug. 12
(End of 1938-39 Season)
Beginning of 1939-40 Season
419 Nancy Drew and the Hidden Staircase —
Granville-Litel-Thomas Sept. 9
415 A Child Is Born — Fitzgerald- Lynn Sept. 30
418 The Pride of the Blue Grass — Fellows-
McCallion Oct. 7
SHORT SUBJECT RELEASE SCHEDULE
Columbia — One Reel
9660 Community Sing No. 10 — (10m.) June 16
9511 Nell's Yells— Color Rhapsody (7m.) June 30
9964 Montmarte Madness — Vanities (lOj^m.) . . . June 30
9808 Technique of Tennis — Sport Thrills (9m.) ..June 30
9555 Sojourn in India — Tours (9^m.) July 7
9809 There Goes Rusty— Sport Thrills (lO^m.) . July 15
9512 Hollywood Sweepstakes — Col. Rhap. (8m.) . .July 28
9862 Screen Snapshots No. 12 (10m.) July 28
9904 Washington Parade — Issue No. 4 (11m.) Aug. 4
9810 Big Fish— Sport Thrills (10m.) Aug. 18
9556 In Morocco— Tours (10^m.) Aug. 28
(End of 1938-39 Season)
Beginning of 1939-40 Season
1651 Community Sing No. 1 — (9l/2m.) Aug. 4
1501 Jitterbug Nights— Color Rhaps. (7m.) Aug. 11
1701 The Charm Bracelet — Phantasy (6m.) Sept. 1
1601 Elias Howe — Fools Who Made History
(10'/2m.) Sept. 1
1652 Community Sing No. 2 — (9m.) Sept. 8
1851 Screen Snapshots No. 1 — (10m.) Sept. 15
1551 Holland and the Zuyder Zee — Tours (9m.) . . Sept. 15
1502 Crop Chasers — Color Rhapsody (7l/2m.) . . . . Sept. 22
1801 Bows and Arrows — World of Sports Sept. 29
1751 Little Lost Sheep— Fables (7m.) Oct. 6
1602 Charles Goodyear — Fools Oct. 6
1901 Washington Parade No. 1 Oct. 6
1653 Community Sing No. 3 Oct. 13
1852 Screen Snapshots No. 2 Oct. 20
1503 Dreams on Ice — Color Rhapsody Oct. 20
1552 Modern Cities of India— Tours Oct. 27
1802 Jai-Alai— World of Sports Nov. 3
1504 Mountain Ears — Color Rhapsody Nov. 3
1654 Community Sing No. 4 Nov. 17
1853 Screen Snapshots No. 3 Nov. 24
1702 Millionaire Hobo — Phantasy Nov. 24
Columbia — Two Reels
9161 Doomed Men — Overland with Kit Karson
No. 1 (29m.) July 21
9152 The Reward of Treachery — Mandrake No. 12
(19m.) July 22
9437 Trouble Finds Andy Clyde— All Star (18m.) July 28
9162 Condemned to Die— Overland No. 2 (18m.) . July 28
9163 Fight for Life— Overland No. 3 (20m.) Aug. 4
9438 Mooching Through Georgia — All Star
(19m.) Aug. 11
9164 The Ride of Terror— Overland #4 (18m.) . . .Aug. 11
9165 The Path of Doom— Overland #5 (17m.) . . . . Aug. 18
9166 Rendezvous with Death — Overland #6
(16m.) Aug. 25
9167 The Killer Stallion— Overland S7 (18m.) ... Sept. 1
9168 The Devil's Nest— Overland No. 8 ( 15m.) .. Sept. 8
9169 Blazing Peril— Overland No. 9 (16m.) Sept. 15
9170 The Black Raiders— Overland No. 10 Sept. 22
9171 Foiled— Overland No. 11 Sept. 29
9172 The Warning— Overland No. 12 Oct. 6
9173 Terror in the Night— Overland No. 13 Oct. 13
9174 Crumbling Walls— Overland No. 14 Oct. 20
9175 Unmasked— Overland No. 15 Oct. 27
(End oj 1938-39 Season)
Beginning of 1939-40 Season
1401 Calling All Curs— Stooges (17^m.) Aug. 25
1421 Skinny the Moocher— C. Chase ( 16^m.) .... Sept. 8
1422 Static in the Attic— All Star (19m.) Sept. 22
1492 Oilv to Bed Oily to Rise— Stooges ( 18^m.) . .Oct. 6
1423 All American Blondes— All Star Oct. 20
1424 Teacher's Pest— C. Chase Nov. 3
Metro-Goldwyn-Mayer — One Reel
S-911 Take a Cue— Pete Smith (9m.) Aug. 12
K-929 One Against the World— Pass. Par. (Urn.). Aug. 19
W-889 The Bookworm— Cartoon Tech. (9m.) . . . .Aug. 26
K-930 Unseen Guardians — Pass. Parade (11m.) . .Aug. 26
S-912 Football Thrills of 1938— Smith (lOra.) . . . .Sept. 16
(more to come)
Beginning of 1939-40 Season
T-51 A Day on Treasure Island — Traveltalks
(11 min.) Sept. 2
M-71 Rhumba Rhythm— Miniatures (10m.) Sept. 2
M-72 The Ash Can Fleet— Miniatures (11m.) Sept. 9
C-131 Captain Spanky's Showboat — Our Gang
(11 min.) Sept. 9
F-141 The Dav of Rest— Benchley (9 min.) Sept. 16
M-73 A Failure at Fifty— Miniatures (10m.) Oct. 7
Metro-Goldwyn-Mayer — Two Reels
P-814 Help Wanted— Crime Doesn't Pay (21m.) June 10
P-815 Think First— Crime Doesn't Pay (21m.) .. Sept. 9
Paramount — One Reel
K8-7 Colombia— Color Cruise (9m.) July 21
E8-11 It's the Natural Thing to Do— Popeye
(6y2m.) July 28
J8-6 Popular Science No. 6 — (10m.) Aug. 4
T8-11 Yip Yip Yippy— Betty Boop (6m.) Aug. 11
A8-12 Sweet Moments — Headliner (10m.) Aug. 11
V8-12 Breaking the News — Paragraphic (10m.) . .Aug. 25
(End of 1938-39 Season)
Beginning of 1939-40 Season
R9-1 Hydro-Maniacs — Sportlight (9m.) Sept. 1
K9-1 Ecuador — Color Cruise Sept. 1
A9-1 Artie Shaw's Class in Swing — Headliner
(10m.) Sept. 8
J9-1 Popular Science No. 1 Sept. 15
V9-1 Public Hobby Number One — Paragraphic
(1054m.) Sept. 22
R9-2 A Desert Adventure— Sportlight (9^m.) . .Sept. 22
C9-1 The Fresh Vegetable Mystery — Classic Sept. 29
D9-1 The Blue Danube Waltz— Svmphonic Seot. 29
A9-2 Ted Fio Rito and His Orchestra— Head Oct. 6
K9-2 Peru — Color Cruise Oct. 6
R9-3 Catching Whoppers— Sportlight (9y2m.) . . . .Oct. 13
L9-1 Unusual Occupations No. 1 Oct. 13
V9-2 Not Yet Titled— Paragraphic Oct. 20
A9-3 Moments of Charm of 1940— Headliner Oct. 27
D9-2 Merry Wives of Windsor — Symphonic Oct. 27
RKO — One Reel
94313 Kennel Kings — Sportscope (9m.) Aug. 11
94613 Pack Trip— Reelism (9m.) Aug. 18
94118 The Autograph Hound— Disney (8m.) ....Sept. 1
(End of 1938-39 Season)
Beginning of 1939-40 Season
04301 Gun Play— Sportscope (9m.) Sept. 1
04201 Information Please— ( 11m.) Sept. 8
04601 Nevada Unlimited— Reelism (8m.) Sept. 15
04101 Officer Duck— Disney (8m.) Sept. 22
04302 Hunting Hounds — Sportscope Sept. 29
04202 Information Please Oct. 6
RKO — Two Reels
93113 March of Time (18m.) Aug. 4
(End of 1938-39 Season)
Beginning of 1939-40 Season
03101 March of Time— (19m.) Sept. 1
03501 Cupid Rides the Range— Whitley (18m.) .. .Sept. 8
03701 Wrong Room— Leon Errol (19m.) Sept. 22
03102 March of Time Sept. 29
03401 Act Your Age — E. Kcnnedv (18m.) Oct. 6
03201 Blamed for a Blonde— Atwcll (16m.) Oct. 20
03103 March of Time Oct. 27
03702 Truth Aches — Leon Enrol Nov. 3
03202 Coat Tales—Jed Prouty Nov. 17
0301
0552
0601
0502
0401
0553
0102
0503
0202
0504
0103
0554
0302
Twentieth Century-Fox — One Reel
Big Game Fishing — Sports (10m.) Sept. 1
Hook, Line and Sinker — Terry-Toon (7m.). Sept. 8
Fashion Forecasts No. 5 — (10m.) Sept. 15
Sheep in the Meadow — Terry-Toon (7m.) .. Sept. 22
Monkeys Is the Cwaziest People — Lew Lehr
(10m.) Sept. 29
The Orphan Duck — Terry-Toon (7m.) Oct. 6
The Evergreen Empire — L. Thomas (11m.).. Oct. 13
The Watchdog — Terry-Toon Oct. 20
Filming the Fleet — Adv. News Cam. (11m.) . .Oct. 27
A Mouse and a Million — Terry-Toon Nov. 3
The Aghileen Pinnacles — Father Hubbard
and Lowell Thomas (11m.) Nov. 10
Wicky-Wacky Romance — Terry-Toon Nov. 17
Clocking the Jockeys — Sports (11m.) Nov. 24
Universal — One Reel
A3260 Snuffy's Party — Lantz cart. (7m.) Aug. 7
A3261 Slap Happy Valley— Lantz cart. (7m.) Aug. 21
A3262 Silly Superstition— Lantz cart. (7m.) Aug. 28
(End of 1938-39 Season)
Beginning of 1939-40 Season
4261 A Haunting We Will Go— Cart. (9m.) Sept. 4
4371 Stranger Than Fiction No. 66— (8</2m.) . . . .Sept. 18
4351 Going Places with Thomas No. 66— (9m.) .. Sept. 25
4262 Life Begins with Andy Panda— Cart Oct. 9
4372 Stranger Than Fiction No. 67— (9m.) Oct. 9
4352 Going Places with Thomas No. 67 — (9m.) . . .Oct. 16
Universal — Two Reels
4586 Indian Vengeance — Oregon No. 6 (20m.) . . . .Aug. 8
4587 Trail of Treachery— Oregon No. 7 (20m.) . . . Aug. 15
45£8 Redskin's Revenge— Oregon No. 8 ( 18m.) . .Aug. 22
4589 Avalanche of Doom — Oregon No. 9 ( 18m.) . .Aug. 29
4590 The Plunge of Peril— Oregon No. 10 (20m.) .Sept. 5
4221 Boy Meets Joy — Tomlin-Hodges ( 17m. ).... Sept. 6
4110 March of Freedom — Special (19m.) Sept. 6
4591 Trapped in Flames — Oregon No. 11 (17m.) . .Sept. 12
4592 The Baited Trap— Oregon No. 12 ( 19m.) ... Sept. 19
4593 Crashing Timbers — Oregon No. 13 (18m.) .. Sept. 26
4594 Death in the Night— Oregon No. 14 (20m.).. Oct. 3
4595 Trails End— Oregon No. 15 (19m.) Oct. 10
4681 The Menacing Power — Phantom Creeps
No. 1 (21m.) Oct. 17
4222 Swing Hotel— Musical (18m.) Oct. 18
4682 Death Stalks the Highwavs— Phantom
No. 2 (21m.) Oct. 24
4683 Crashing Towers — Phantom No. 3 (21m.) . . .Oct. 31
("With Best Dishes," listed in the Last Index as an
August 9 release, belongs to the 1938-39 Season)
4612
4518
4314
4908
4716
4311
4521
4611
4522
4815
4717
4911
4523
4312
4613
4816
4524
4718
4404
4912
4313
4525
4526
Vitaphone — One Reel
Mechnix Illustrated $5 — (9m.) June 10
Hobo Gadget Band — Mer. Mel. (7m.) (re.). June 17
Scalp Trouble — Looney Tunes (7m.) June 24
The Right Way— Varieties (9m.) July 1
Rita Rio and Orch. — Mel. Mast. (10m.) July 1
Lives in Peril — True Adventures (11m.) ....July 1
Old Glory — Mer. Melodies (10m.) July 1
Modern Methods — Color Parade (9m.) July 15
Dangerous Dan McFoo — Mer. Mel. (8m.) . .July 15
Porky's Picnic — Looney Tunes (7m.) July 15
Will Osborne and Orch.— Mel. Mast. (10m.) July 22
Witness Trouble-Grouch Club — Var. (9m.) . .July 29
Snow Man's Land — Mer. Mel. (7m.) July 29
Three Minute Fuse — True Adv. (11m.) July 29
Mechanix Illustrated No. 6 — (10m.) Aug. 5
Wise Quack — Looney Tunes (7m.) Aug. 5
Harum Scarum — Mer. Mel. (7m.) Aug. 12
Eddie DeLange & Orch. — Mel. Mast. (9m.) .Aug. 12
Romance in Color — Techni. Spec. (11m.) .. .Aug. 19
One Day Stand — Varieties (9m.) Aug. 19
Verge of Disaster — True Adv. (7m.) Aug. 26
Detouring America — Mer. Mel. (8m.) Aug. 26
Little Brother Rat— Mer. Mel. (8m.) Sept. 2
(End of 1 938-39 Season)
Beginning of 1939-40 Season
5501 Swing Styles — Melody Masters (10m.) Sept. 2
5601 Porkv's Hotel— Looney Tunes (6]/2m.) Sept. 2
5701 Vote Trouble— Varieties (11m.) Sept. 9
5301 Sioux Me — Merrie Melodies (8m.) Sept. 9
5303 Land of the Midnight Fun— Mer.Mel. (8m.) . Sept. 23
5602 Jcepers Creepers — Looney Tunes (8}/->m.) . . Sept. 23
5502 Vincent Lopez & Orch.— Mel. Mast. ( 10m.) . Sept. 30
5401 Mechanix Illustrated SI — Col. Par. ( 10m.) .. Sept. 30
5302 Little Lion Hunter— Mer. Mel. (7m.) Oct. 7
5603 Naughty Neighbors — Looney Tunes Oct. 7
5702 Sword Fishing— Varieties Oct. 21
5304 Good Egg— Merrie Melodies Oct. 21
5305 Fresh Fish — Merrie Melodies Nov. 4
5604 Pied Piper Porky — Looney Tunes Nov. 4
Vitaphone — Two Reels
4007 Bill of Rights— Tech. Prod. (17m.) Aug. 12
4018 Seeing Red (Spare Parts) — Bway. Brev.
(19m.) Aug. 26
4008 Ride Cowboy Ride (Ride Ranger Ride) —
Tech. Prod. (17m.) Sept. 9
(End of 1938-39 Season)
Beginning of 1939-40 Season
5103 Slapsie Maxie's — Bwav. Brev. (16m.) Sept. 16
5001 Monroe Doctrine— Tech. Prod. (16m.) Oct. 14
5102 Ice Frolics — Bway. Brevities Oct. 28
NEWSWEEKLY NEW YORK
RELEASE DATES
Universal
Paramount News
804
805
806
807
808
802 Saturday .
803 Wednesday
Saturday .
Wednesday
Saturday .
W cdnesriay
Saturday . .
809 Wednesday
810 Saturday . .
811 Wednesday
812 Saturday .
813 Wednesday
814 Saturday .
815 Wednesday
816 Saturday .
817 Wednesday
818 Saturday .
819 Wednesday
820 Saturday ..
.Sept.
. Sept.
2
6
.Sept. 9
.Sept. 13
..Sept. 16
. . Sept. 20
. . Sept. 23
. . Sept. 27
. . Sept. 30
..Oct. 4
..Oct. 7
..Oct. 11
..Oct. 14
..Oct. 18
..Oct. 21
..Oct. 25
..Oct. 28
..Nov. 1
. . Nov. 4
6
Wednesday .
. . Sept. 20
7
Saturday . , .
Sept. 23
8
Wednesday .
. .Sept. 27
9
Saturday . .
Sept. 30
10
Wednesday
..Oct. 4
11
Saturday . . ,
Oct. 7
1-'
Wednesday
...Oct. 11
13
Saturday . .
Oct. 14
14
Wednesday ,
..Oct. 18
15
Saturday ,
Oct. 21
16
Wednesday .
..Oct. 25
17
Saturday . .
Oct. 28
18
Wednesday .
..Nov. 1
19
Saturday .
. . Nov. 4
Metrotone News
Fox Movietone
98 Saturday
99 Wednesday . .
100 Saturday ...
101 Wednesday .
102 Saturday . .
103 Wednesday
104 Saturday . .
(End of 1938-39
.Aug. 19
.Aug. 23
. Aug. 26
.Aug. 30
.Sept. 2
.Sept. 6
.Sept. 9
Season)
202 Wednesday
203 Saturday . .
204 Wednesday
205 Saturday . .
206 W ednesday
207 Saturday .
208 Wednesday
209 Saturday .
210 Wednesday
211 Saturday .,
212 Wednesday
213 Saturday .
214 Wednesday
215 Saturdav . .
. Sept. 20
. Sept. 23
. Sept. 27
. Sept. 30
..Oct. 4
..Oct. 7
..Oct. 11
..Oct. 14
..Oct. 18
..Oct. 21
. . Oct. 25
..Oct. 28
.Nov. 1
. Nov. 4
1939-40 Season
Pathe News
3
Wednesday .
. . Sept.
20
05218 Wed. (E.).
Sept. 20
4
Sept.
23
05119 Sat. (O.)..
Sept. 23
5
Wednesday .
. . Sept.
27
05220 Wed. (E.).
Sept. 27
6
Saturday . . .
Sept.
30
05121 Sat. (O.)..
Sept. 30
7
Wednesday
, . . Oct.
4
05222 Wed. (E.)
.Oct. 4
8
Saturday . .
Oct.
7
05123 Sat. (O.).
.Oct. 7
9
Wednesday
...Oct.
11
05224 Wed. (E.)
.Oct. 11
10
Oct.
14
05125 Sat. (O.).
.Oct. 14
11
Wednesday -
, . . Oct.
18
05226 Wed. (E.)
.Oct. 18
12
Oct.
21
05127 Sat. (O.).
.Oct. 21
13
Wednesday ,
, . . Oct.
25
05228 Wed. (E.)
.Oct. 25
14
Oct.
28
05129 Sat. (O.).
.Oct. 28
15
Wednesday .
. . Nov.
1
05230 Wed. (E.).
Nov. 1
16
Saturday . . .
Nov.
4
05131 Sat. (O.)..
Nov. 4
Enter** sw« »««orid-cl»»3 matter January 4, 1921, at the post o3I«e at New York, Htm Y»rk, under the act of Marsh 3, 18T9.
Yearly Subscription Rates: 1270 SIXTH AVENUE Poblishe*! Weekly by
United States *15.C9 R™m 1 ftl 9 Harrison's Reports, Inc..
U. S. Insular Possessions. 1S.C0 KOOm Pubiuiher
Canada 16.50 New York, N. Y. P. S. HARRISON, Editor
Mexico, Cuba, Spain 16.50 . ,, . . _, . _ , . _
Great Britain 15 75 A Motlon Picture Reviewing Service
Australia, New' Zealand," Devoted Chiefly to the Interests of the Exhibitors Established July 1, 1919
India, Europe, Asia .... 17.50 _ .
3c;„ „ f„r,w *ta Editorial Policy: No Problem Too Big for Its Editorial Circle 7-4612
<5»o a i^opy Columns, if It is to Benefit the Exhibitor.
A REVIEWING SERVICE FREE FROM THE INFLUENCE OF FILM ADVERTISING
Vol. XXI SATURDAY, OCTOBER 14, 1939 No. 41
DESTRUCTIVE CRITICISM
Two Hollywood papers, the Hollyzvood Reporter
and the Hollywood Spectator, have taken George
Schaefer, president of RKO, to task for having
given Orson Welles $750,000 and unrestricted au-
thority to produce a picture — Conrad's "Out of
Darkness."
Welford Beaton says in his Hollywood Spec-
tator:
"Orson Welles has never produced a motion
picture — -
"He has never directed a motion picture —
"He has never acted in a motion picture —
"He has been given a contract and a large sum
of money to spend in producing, directing, writing,
and acting a motion picture. ..."
He then turns his criticism into a personal abuse.
W. R. Wilkerson, in his Hollyzvood Spectator,
criticizes Mr. Schaefer for having given Welles
$750,000 and a "questionable" story to make a pic-
ture with, and attacks severely Schaefer's an-
nouncement that all salaries beginning with $90 a
week and up will be curtailed on a graduated scale,
with the largest salaries receiving the greatest cuts.
The criticism of Messrs. Wilkerson and Beaton
are merely matters of personal opinion ; they are
not founded on facts. Had either of them read the
Conrad book and stated in which respect the book
will fail to make a good motion picture, his criti-
cism would have been constructive ; in the manner
their criticisms have been presented, they are de-
structive, for they may have the effect of discour-
aging, not only Mr. Schaefer, but also Mr. Welles.
Mr. Schaefer certainly must feel that Mr. Welles
possesses certain qualifications to deserve the sup-
port he has given him in starting him off as a pro-
ducer of motion pictures ; undoubtedly he feels
that, when a producer puts on a fantastic produc-
tion and makes a large portion of the American
public take it for real — when a man puts on a pro-
duction that makes people feel that the Martians
visited the earth and began waring on its inhabi-
tants, he must have something under his hat. And
he proceeded to find out. If he finds out that Mr.
Welles is a great producer of pictures, as he has
been of radio and stage productions, then he will
feel satisfied that he has accomplished something.
Why should these two trade paper editors have
singled out Mr. Schaefer when what he did is no
worse than what others are doing in Hollywood
every day — producers giving incompetent relatives
unheard of amounts of money to produce pictures
with ? At least George Schaefer picked out a person
who has brains, and whose ability has been proved.
The criticisms of these two trade paper editors
are premature and ill-taken ; and they lead one to
believe that they were inspired, even if they were
not. Had they waited until Mr. Welles produced
the picture and it "flopped," their criticisms would
be justified; and if they were impatient to speak
their piece, they could at least have read the book
and told us its shortcomings, if they have the
ability to point out shortcomings in a story chosen
for film production.
Harrison's Reports does not say that Mr.
Welles is going to produce a masterpiece ; nor does
it wish to discourage new talent : it will simply
wait to see what Mr. Welles will do before saying
whether George Schaefer was wise in doing with
Mr. Welles what he has done, or unwise. In the
meantime, the writer will obtain a copy of the book
and will comment on it in these columns.
WHERE THE TROUBLE LIES!
The following interesting letter was received
from a friend who has just visited Hollywood:
"Dear Pete :
"They have all gone 'nuts' out here. Last Satur-
day 1,600 subpoenas were served on studio heads
and others by the government's representatives and
this week the Grand Jury is hearing them all. What
with the war, labor troubles, etc., they are firing all
the help that contributed to making pictures. No
relatives have been fired or. cut. No big salaries
have been cut.
"Only 'B' pictures will be produced. We are in
for a flock of 'Quickies.' 'They may furnish the
couple of big ones they started, but POSITIVELY
they will not make any more big ones. The exhibi-
tors who have already bought their product are in
for a 'shellacking.' "
The question of relatives in the production end
of the business is, of course, a bane on the industry,
but one should be a great optimist to expect the
studio leaders to discharge their relatives ; it is not
in human nature that they should do so. What
hurts more than the employment of such relatives
is the salaries paid them ; they are so high that the
studio forces become demoralized : when compe-
tent persons see incompetent relatives receive three
and four, and even more, times the amount of
money they receive, they naturally feel aggrieved.
As a matter of fact, this injustice is the subject of
continual conversation among the forces of the dif-
ferent studios.
The only remedy, as said repeatedly in these
columns, is the outlawing of block-booking and of
blind-selling: When pictures are sold on merit and
not on the knowledge that they will bring in a profit,
no matter how poor they are, because the poor pic-
(Continued on Inst pane)
162
HARRISON'S REPORTS
October 14, 1939
"On Your Toes" with Zorina
and Eddie Albert
(First National, October 14; time, 94 min.)
Slow and tiresome ! There is nothing m it that would
interest picture-goers oi the rank-and-hle. The hero is a
weakling, even tnough a good natured one. Zorina may be a
famous dancer, but she means little to the screen.
i he story deals with a hero (.Eddie Albert), who was
part of a vaudeville team with his father and mother. But
he had other ambitions — he wanted to compose music. He
quits the team to follow his natural inclinations. He meets
a broken down Russian would-be composer and, under his
"inspiration,' he writes the score for a ballet with a modern
tone, lie meets Zorina, who was to take the leading female
part, and he realizes that she was the girl whom he had met
once in a theatre when they were children. The ballet is an
eventual success. The two become engaged.
The plot has been founded on the musical revue by Rich-
ard Rodgers, George Abbott, and Lorenz Hart. '1 he screen
play was written by Jerry Wald and Richard Macauley.
Ray Enright directed it. James Gleason, Frank McHugh,
Berton Churchill and others are in the supporting cast.
Suitability, Class A.
"Eternally Yours" with Loretta Young,
David Niven and Broderick Crawford
(United Artists, October 12; time, 100 min.)
In spite of the fact that a fortune was spent in producing
it, '".Eternally Yours" is not a good entertainment. The first
half is slow and pretty tiresome; the second half moves
along at a fairly fast speed, but nothing that happens moves
one. The only thing that it does is to hold one in tairly tense
suspense, the cause being the hero's daring — handcuffed,
and strapped to a parachute, he jumps from a plane fifteen
thousand feet in the air and, before being dashed on the
ground, succeeds in freeing himself and opening the para-
chute : —
Loretta Young, engaged to colorless Crawford, meets
David Niven, a magician performing at a theatre, and it is
love at first sight for both. She goes on a tour with him and
helps him with his act. But soon she becomes tired of the
shiftless life and, although she loved him, she deserts him.
Niven cancels his engagements and proceeds to find her,
but is unsuccessful. Soon he learns that she had married
Crawford. But he still pursues her. He eventually finds her
and makes her admit that she still loved him. The fact that
she was still madly in love with him comes out when Niven,
after having jumped from a plane handcuffed and succeed-
ing in opening the parachute, falls .yito the water and
Loretta thinks that he had drowned. Crawford realizes
that she was still in love with her first husband and decides
to give her her freedom.
The story is an original by Gene Towne and Graham
Baker. It was directed by Tay Garnette. Billy Burke,
C. Aubrey Smith, Hugh Herbert, Zasu Pitts, and many
others are in the supporting cast.
Class B.
"The Private Lives of Elizabeth and Essex"
with Bette Davis and Errol Flynn
(Warner Bros., November 11 ; running time, 106 min.)
This Robert Lord-Michael Curtis technicolor "opus"
misess fire, in spite of the fact that a fortune has been
spent on it. The reason for it is the fact that similar stories,
revolving around historical queens of England, have been
shown in pictures so often that they are no longer novelties.
Besides, the action of this story unfolds mostly by dialogue ;
there is little fast photographic action. As a result, one
becomes almost bored. The story twist that seems to have
impressed the Warner executives who have selected it for
production is the fact that Queen Elizabeth sends the Earl
of Essex, the man she loved with all her heart, to death
because he was too ambitious and she feared the future of
England if he should dethrone her and become the King.
Bette Davis does excellent work as Elizabeth, particularly
in the scenes where she had to choose between love and,
what she thought, her duty. All the court intrigues usual in
pictures of this type are shown in this picture, too. There
are some fights, but not of such nature as to impress one.
There is also pageantry.
The plot has been founded on the stage play by Maxwell
Anderson. The screen play was written by Norman Reilly
Rain, and Ancas McKenzic. It was produced by Robert
Lord, and directed by Michael Curtiz. Some of the sup-
porting players are, Olivia de Havilland, Donald Crisp
and Allan Hale.
Morally, it is suitable for all. Class A.
"Hollywood Cavalcade" with Alice Faye,
Don Ameche and J. Edward Brornberg
(20th Centw y-b'ox, October 13; time, % min.)
A fine entertainment. It is supposed to be the history of
motion pictures in Hollywood, but since it is too long to be
included in nine or ten reels, only part of it is shown. And
the facts have been mixed with tiction. This, however, has
not weakened its effectiveness; rather it has enhanced it,
for the producers thus have tound an opportunity to mingle
laughs with tears. Some ot the sequences show the old
Keystone comedies, which were produced by Mack Sennett ;
they will undoubtedly make a hit with the new generation
as well as with those who still remember those comedies.
Some of the old actors, such as Ben Turpin and Buster
Keaton, appear in some of the sequences. Miss Faye is
extremely charming as the heroine. Don Ameche, as the
self-made director, is excellent. Brornberg, too, deserves
mention for the good work he does. 1 he picture has been
photographed in technicolor.
It is the story of a Hollywood studio prop-boy (Ameche)
who, while in New York, attends a vaudeville show with a
friend of his (J. Edward Brornberg). He is so struck with
the acting of Alice Faye that, by using the Hollywood
famous bluster, he sweeps her off her feet and makes her
sign a contract to appear in motion pictures. He then sells
the contract to his former boss. From that time on, Ameche,
being resourceful, becomes a success, making a great star
out of Alice Faye. But although he loved Alice he was too
much engrossed in the business to express his feelings to
her. Consequently Alice falls in love with Alan Curtis, her
leading man, and marries him. When Don hears of it he
goes to pieces. He refuses to renew Alice's contract. From
that time on, he goes down and down until he is finally a
failure. Alice pleads with Brornberg to let him direct her
next picture. During production, Alice and Alan have an
automobile accident in which Alan is killed. Talking pic-
tures came and the production was about to be scrapped
when Don conceives the idea of shooting the missing scenes
in sound. The picture makes a great hit and Don becomes
reestablished. He and Alice are again brought together.
The story has been written by Hillary Lynn and Broen
Holmes, from an original idea by Lou Brcslow. Mack
Sennett collaborated in it. The screen play is by Ernest
Pascal ; the direction, by Irving Cummings. It was pro-
duced by Harry Joe Brown.
Suitable for all — Class A.
"Rio" with Basil Rathbcne, Victor McLaglen
and Sigrid Gurie
(Universal, September 29; running time, 77 min.)
Despite the lavish production Universal has given it, and
despite the efforts of the cast, "Rio" is not a good enter-
tainment, by reason of the fact that the story is preposter-
ous, even though five writers worked on the original story
to extract some values from it. It is an artificial story, and
the action unfolds in a locality in which the average Amer-
ican picture-goer is least interested — a penal colony (sup-
posedly French), with its drabness, its sombreness, and the
usual cruelty of its prison guards. The lavish frolic scenes
must have cost the producers a fortune ; but they do not
help the picture much, because of the story's triteness.
Sigrid Gurie is not effective, not because she cannot act,
but because her part does not give her the chance she
deserves : —
Basil Rathbone, a powerful French financier, is celebrat-
ing his first wedding anniversary with Sigrid Gurie, his
wife, when he is arrested as a great swindler following an
expose. He is convicted and sentenced to the penal colony,
somewhere in the tropics. Sigrid, in order to be near him,
goes to Rio, accompanied by Victor McLaglen, her hus-
band's faithful bodyguard. There she obtains employment
in a cafe, conducted by Leo Carrillo. She meets Robert
Cummings, a young American engineer, who had taken to
drink as a result of his disgrace when the bridge he had
built had collapsed. She falls madly in love with him. As a
result of her intercession, Leo has the young man undertake
to build a dam to store water for the farmers. He makes a
success and reestablishes himself. With the aid of McLag-
len, Rathbone escapes and reaches Rio. When he discovers
that his wife was in love with Cummings, he threatens to
kill the young man. But McLaglen warns him to desist,
because the police were close behind them. In attempting
to escape the police, Rathbone is shot and killed. McLaglen,
too, is shot and dies.
The plot has been founded on an original story by Jean
Negnlesco. John Brahm directed it.
Suitability, C lass B. Children will not enjoy it.
October 14, 1939
HARRISON'S REPORTS
163
"Babes in Arms" with Mickey Rooney
and Judy Garland
(MGM, October 13; naming time, 95 min.)
Excellent ! It seems as if Metro has hit it well this time,
to the benefit of the box office, not only because of thz
presence of Mickey Rooney and Judy Garland, but also
because the piccui e is a real entertainment ; it has in it
everything that appeals to every one who sees pictures — a
few teais, a load of laughs, delightful music, and youthful-
ness. Mickey Kooncy certainly proves to be a real trouper :
he not only is a good clown, but also can bring tears. In the
scenes where ne mimics Clark Gable and Lionel Barry-
more, people shouid scieech from laughter, ihe youngsters
who appear m tiie picture aie capable performers, ihe
entire picture holds one in its grip ; and it leaves one in so
joyful a mood that many picture-goers will undoubtedly see
it a second time.
The story deals with "has been" vaudeville actors'
children, who find it impossible to convince their parents
that they, too, had talent. The old folk organize their acts
into a vaudeville show and go on the road, but they refuse
to take their children along ; so the children take matters in
their own hands: Mickey Rooney decides to write a show
to be performed by them all. In the meantime, a busybody
woman calls on the justice of the peace and insists that he
send the children to trade schools, where they could learn
something useful. The children are hailed before the judge
but he, being a good judge, is persuaded by Mickey Rooney
to let them try their hand at producing a show themselves.
The judge gives them thirty days to prove their ability.
Their lack of the necessary capital is taken care of by a
young girl, daughter of wealthy parents (without their
knowledge), on the understanding that she be given the
leading part. This naturally is a shock to Judy Garland,
who loved Mickey, but Mickey is able to pacify her when
he tells her that they have no other way out. The show is a
success, but a sudden storm ruins the show before it is over.
Mickey, however, receives a letter from a New York pro-
ducer inviting him to call on him to talk terms. The pro-
ducer happened to be an old friend of his father's. The old-
timers return from their tour, broke. The producer sends
for Mickey's father to take charge of the children's pro-
duction. Mickey is happy when his father accepts the offer.
The screen play by Jack McGowan and Kay Van Riper
was founded on the Richard Rodgers and Lorenz Hart
stage production. Busby Berkeley directed it and Arthur
Freed produced it. Class A.
"Intermezzo" with Leslie Howard,
Ingrid Bergman and Edna Best
(United Artists, September 22; time, 70 min.)
Artistically, this is as fine a production as one wishes to
sec, but its appeal will be directed mainly to cultured audi-
ences ; picture-goers of the rank-and-file may find it only
fair, and even boresome. The trouble with it is the story — it
is really no story to speak of : —
The hero, a famous concert violinist, happily married
and the father of two young children, falls madly in love
with his little daughter's tutor, a pianist of great promise,
an ardent admirer of his. Realizing that their situation is
irregular, she decides to leave him, but he, unable to bear
their separation, follows her to the railroad station, and
induces her to remain. He deserts his family and takes her
to Europe, where they are, or are supposed to be, happy.
The girl is informed by her own tutor, a sort of counselor
to her as well as to him, that she had won a scholarship,
but now she does not want it. He calls on them, and induces
her to give him up. The hero returns home just to
see his little daughter, whom he adored. While he awaits
her outside the school, she sees him and rushes to him. But,
in crossing the street, she is run over by an automobile. He
rushes the child to her mother. The doctor finds that the
child will live. The tragedy to the child becomes the means
of reconciliation between husband and wife.
Such a story cannot help being weak for general picture
audiences, who do not relish the sight of a happily married
man's deserting his family for another woman, no matter
how helpless he may be to prevent such a happening.
The best situation is that in which the father is shown
tail ing to his young hostile son and telling him that he, the
father, needed him in that hour of trouble, and that some
day be. the son, might forgive him for his mistake. Gregory
Ratnff's direction is without blemish. The acting of both,
Leslie Howard and Ingrid Bergman, is superb.
Highly meritorious, but suitability Class B.
"Dancing Co-Ed" with Lana Turner
and Ann Rutherford
(MGM , September 29; running time, 84 min.)
If the producers meant to make a star out of Miss Turner
with this picture, they could not have selected a worse story
for the purpose. It is not novel, and shows no significant
action, riven the contest is won by another character al-
though one is led to believe that it v/ould be wen by her.
The worst drawback, tiowever, is the fact that the story is
based on the deception theme. Miss Turner docs a good bit
of dancing, and the Artie Shaw orchestra, one of tne most
popular in the country, does some playing : —
'i ne story deals with the efforts of a film company's pub-
licity agent to "plant" the heroine in a college so that, when
the company's radio time and Artie Shaw's band were used
to put over a nation-wide campaign to choose a girl to
co-star with the film company's leading man in a forth-
coming production, the heroine would be chosen. Lana is
planted in a mid-western college. She falls in love with the
hero, editor of the college's paper. Having sensed that a
"plant" might be used to win the contest, he carries out an
investigation with a view to discovering the girl. He is
shocked when she confesses to him. He advises her not to
take part in the contest but she refuses. So he kidnaps her.
Although she is freed in time to reach the place and take
part in the contest, her friend is chosen as the winner. The
hero is naturally glad; they become engaged.
Albert Treynor wrote the story, and Albert Manheimer
the screen play. Sylvan Simon directed it, and Edgar
Selwyn produced it. Lee Bowman, Thurston Hall, and
Leon Errol are some of those in the cast.
Suitability, Class A. It may appeal to young folk.
"$1,000 Touchdown" with Joe E. Brown
and Martha Raye
(Paramount, September 22; running time, 73 min.)
Poor ! The Joe E. Brown style of comedy seems to have
become outmoded, and the star will have to change it if he
should hope to retain a substantial portion of his former
following. The spectator manifests no interest in the
doings, except perhaps in the football sequences toward the
end. Not even the presence of Martha Raye can change
one's attitude. Martha Raye's bribing the opposite team by
promising them $1,000 for every touchdown they will let
her team make is not very edifying, even in a burlesque
comedy.
Screen play, by Delmar Davis ; direction, James Hogan.
Morally, Class A. Good for a double bill.
"Fast and Furious" with Franchot Tone
and Ann Sothern
(MGM, October 6; running time, 73 min.)
A good program murder melodrama, unfolding during
the staging of a beauty carnival. There is some comedy, and
the spectator is held in tense suspense because of the danger
to the life of the hero, who attempts to solve the murder
mystery, and because of the fact that it is difficult for the
spectator to guess the identity of the murderer. Mr. Tone
does good work, and Ann Sothern, as the heroine, wife of
the hero, contributes some of the comedy, and aids in the
solution of the mystery.
Franchot Tone lends Lee Bowman, a friend of his, $5,000
with which to buy an interest in a beauty carnival, con-
ducted by John Miljan at a seashore resort. Under the
excuse of needing a vacation, Tone takes his wife and goes
to the resort. He soon obtains information leading him to
believe that Miljan was a crook, and that he intended to
abscond with the receipts, and so informs Bowman. Bow-
man calls on Miljan and demands the return of the money
invested by him. Miljan, ridiculing his suspicions, pre-
tends to go to his safe in the next room to get the money.
Suddenly the report of a pistol shot resounds and when
they open the door they find Miljan dead. Bowman is
naturally arrested for his murder. Tone knows that his
friend was innocent and proceeds to obtain the necessary
evidence to clear him with. During the course of his investi-
gations a second murder occurs. In the end. Tone proves
that the murder had been committed by a newspaper
reporter.
The plot has been founded on an original story by Harry
Kurnitz. Busby Berkeley directed it, and Frederick Steph-
ani produced it.
Being a murder story, it is hardly suitable for children
under twelve. Class B.
Title is $1 ,000 A TOUCHDOWN.
HARRISON'S REPORTS
October 14, 1939
turcs are sold along with the good pictures in a
group, then there will be no dissatisfaction among
the studio forces, for no executive will long tolerate
incompetents, even if they are his relatives, when
he sees his pictures bring losses instead of profits.
And, of course, when theatre divorcement is
effected, it will be so much better ; then we shall
have real "democracy" in production, distribution,
and exhibition of motion pictures.
Sam Goldwyn says that real economies may be
effected, not by discharging low-salary workers, but
by readjusting the high-bracket salaries. Mr. Gold-
wyn is right. But he should go further: he should
suggest that ali incompetents be eliminated.
MONEY THE PRODUCERS COULD
HAVE SPENT MORE PROFITABLY
Some time ago this paper commented on the fact
that the moving picture producers have engaged
Steve Hannagan, a publicity man de luxe of several
large corporations in the United States, to do pub-
licity work for them before and during the trial
of the Government suit.
A short time ago, Mr. Hannagan started his
work, the first release being an item dealing with
the progress of the suit.
In the recent filing of the Government's answer
to the demand of the defendants for a bill of more
particulars, and the insistence of the Court that the
majors answer within ten days, Mr. Hannagan
sent out to the trade papers, and no doubt to the
newspapers in New York City, copies of the briefs.
So far Mr. Hanagan has done nothing to startle
anybody : the documents that he has sent out could
have been sent by an office boy of the lawyers who
are defending the majors, and the other publicity
matter could have been written by any youngster
in the office of any of the majors'.publicity depart-
ments, let alone the publicity heads themselves.
I don't know how much the producers have
agreed to pay Mr. Hannagan, but I doubt whether
the amount that will be paid him' will be less than
$50,000.
There are in this industry publicity men who can
show Mr. Hannagan cards and spades when it
comes to dealing with what concerns the motion
picture industry in a public relations way, but the
producers must have felt that none of them would
do, perhaps because none of them has been ex-
ploited as extensively as has Mr. Hannagan.
From the independent exhibitors' point of view,
the failure of Mr. Hannagan to do the work as
efficiently as could be done by any number of pub-
licity men already working for the producers is, of
course, satisfactory; what prompts this paper to
comment upon the fact is to point out one more
extravagant waste of exhibitors' money. After all,
you, the exhibitor, has to foot the bill.
Isn't it about time that the producers have given
some thought about the welfare of the exhibitor?
And the only kindly thought they can give about
him is to cut film rentals to the bone so as to enable
him to survive the present depression.
"A very dangerous and highly illegal practice,
that is, if we interpret the U. S. Court's decision
correctly in the Texas case, is becoming more and
more prevalent in this industry. It is fast becoming
a serious menace to the very foundation of com-
petitive relations in the motion picture industry.
"We refer to the practice of exchange employees
owning and operating theatres, in direct opposition
to the firms' clients and to the detriment of their
own companies, while drawing a salary check from
a local exchange.
"It is bad enough when a film salesman owns an
interest in a theatre and in the case of a manager,
unthinkable ; but when a district manager is said to
own a group of theatres and okays his own con-
tracts for these houses, then it is time somebody
focused the full light of publicity on this type of
procedure. ..."
Harrison's Reports has battled this evil for
years, but nothing was done by the home offices to
remedy the situation. In some cases, the home office
executives had the facts in their possession.
Exposing the evil in the press will not eradicate
it ; what will compel the exchangemen to give up
being in competition with their own customers is
for the U. S. Government to win the suit against
the producers, now pending in the New York dis-
trict court. And to win it, the government must
have the support of every independent exhibitor;
every exhihitor must give to Mr. Turman Arnold,
Assistant Attorney General, whatever information
he has about such and other matters.
THE GOVERNMENT UNDETERRED
IN ITS INDUSTRY ADJUSTMENT
EFFORTS
The United States Government continues taking
action with a view to straightening out the industry
through court action. About two weeks ago the
Department of Justice moved for an injunction to
restrain the Schine Circuit (of New York and of
other states), from further expansion pending the
disposition of the suit the Government has against
it.
Meanwhile, the government is awaiting the an-
swers to the interrogatories — some sixty odd ques-
tions the Department has submitted to the majors,
through the New York District Court.
The interrogatories may delay the starting trial
date of the case a little, but the answers to the dif-
ferent questions will expedite the suit when trial
starts. In the opinion of some exhibitor leaders, the
answers to these interrogatories will give the gov-
ernment just the information it needs for the suc-
cessful prosecution of the case.
And so it seems evident that the government is
permitting neither the cry about a Code nor the fear
of war to deter it in its determination to clean house
in the picture industry.
EXCHANGE EMPLOYEES AS PICTURE
THEATRE OPERATORS
The Box Office Digest, of Hollywood, has a
strong article by I Iarry E. Nichols in the Septem-
ber 25 issue condemning the practice of exchange
employees owning picture theatres. He says partly :
ORDER YOUR MISSING COPIES
Look over your file of Harrison's Reports and
if you find any copy missing, write to this office and
duplicate copies will be sent to you free of charge.
A sufficient number of copies of back issues for
several years is kept in stock for just such a
purpose.
You cannot know when you may need the parti-
cular copies that are missing from your files. Why,
then, not look into your files now?
Entered as second-class matter January 4, 1921, at the post office at New York, New York, under the act of March 3, 1879.
Yearly Subscription Rates: 1270 SIXTH AVENUE Published Weekly by
United States $15.00 1 Q1 9 Harrison's Reports. Inc.,
U. S. Insular Possessions. 16.50 Room 101£ Publisher
Canada 1S.50 New York, N. Y. P. S. HARRISON, Editor
Mexico, Cuba, Spain 16.50 . „ „, _. , _ . . ,
Great Britain 15.75 Motlon Plctur« Reviewmg Service ir,f»hH«.h<.rt J„l~ 1
Australia, New Zealand, Devoted Chiefly to the Interests of the Exhibitors Established July 1, 1919
India, Europe, Asia 17.50
,r. . Its Editorial Policy: No Problem Too Big for Its Editorial Circle 7-4612
aoc a ^opy Columns, if It is to Benefit the Exhibitor.
A REVIEWING SERVICE FREE FROM THE INFLUENCE OF FILM ADVERTISING
Vol. XXI SATURDAY, OCTOBER 21, 1939 No. 42
FRANK CAPRA'S LACK
OF GOOD TASTE
Under the democratic system of our government,
a citizen may employ his right to express his opin-
ion without molestation, so long as he does not
violate the law.
The right of the citizen to express his opinion
freely, however, places on him certain moral obli-
gations. One of such obligations, for example, is
to use discretion if the exercise of that right should
wound the feelings of other citizens, or if he
snould present the United States of America
abroad in a bad light. He is not compelled to re-
strain himself by law ; he must do so as a result of
his ability to discern when his words, his criticisms,
may hurt the nation itself — lower it in the estima-
tion of people, abroad as well as at home, parti-
cularly abroad.
In producing "Mr. Smith Goes to Washington,"
Mr. Frank Capra has not exercised such a discre-
tion ; he has presented the United States Senate as
a body the members of which are elected to their
office by the support of crooked politicians, to
whom they remain subservient during their term
of office.
As an American citizen, I resent Mr. Capra's
casting of a reflection upon the integrity of the
United States Senate, and I am sure that there will
be millions of other Americans who will feel like-
wise when they see the picture. I resent it particu-
larly in these times, when the whole world is going
through strenuous days, and the prestige of this
nation may be needed to bring peace among the
warring nations. How will the people of other
countries feel towards this country when they are
made to believe that the United States Senate, the
entire Congress for that matter, is controlled by
crooked politicians? What faith can they have in
such a nation as a promoter of peace?
Unfortunately, nothing can be done to stop the
showing of this picture. Nor can anything be done
to stop the resentment that will, no doubt, be mani-
fested by Congress when the picture is shown.
Allied States Association must tell the members
of the House of Representatives, who will be asked
at the next session of Congress to pass the Neely
Bill, that this is only a sample of the impotence of
the exhibitors to reject a picture that has been sold
on the block-booking system, and that Congress
must, therefore, make it possible for them to reject
such a picture, and similar other pictures, which
may offend the sensibilities of the American pub-
lic. The Allied leaders must start doing so at once.
ARE SILENT PICTURES
COMING BACK?
Darryl Zanuck has announced that he has de-
cided to produce a full-length silent-comedy fea-
ture, on the Keystone-comedy pattern, to be super-
vised by Mr. Mack Sennett, the originator of those
comedies. He has been encouraged to make such a
decision, he says, by the reception given to the
Mack Sennett silent sequences in "Hollywood
Cavalcade."
The writer of this article has held the theory in
the last three or four years that silent dramas, pro-
duced in the modern technique, will be accepted
by the public.
It is true that, wherever I expressed such a
theory, I have been told that the public definitely
will not accept silent pictures now, but I still hold
to that theory ; I feel that, if the story should be
moving and the action should unfold at a fast pace,
there is no reason why such a picture, fitted with
music, should not be accepted by the public.
What has made me hold tenaciously to this icono-
clastic view is the fact that the present-day pictures
are so "gabby" that the picture-going public should
feel relieved to get away from the profuse but un-
necessary garrulousness of the characters.
The Zanuck effort will not, of course, be a real
test, for what Mr. Zanuck has in mind is a slapstick
comedy, and not a drama ; and only a drama may
determine whether silent pictures will or will not
be accepted by the public. The success of the com-
edy Mr. Zanuck will have Mr. Sennett produce, if
it should make a success — and I have no doubt that
it will — may be owed to the comedy gags rather
than to the fact that it is silent. Besides, a comedy
such as Mr. Zanuck has in mind to produce will not
be altogether silent ; ;it will undoubtedly be accom-
panied by sound effects. " "" ..... .
The benefit that will .be -de-rived -by the motion
picture industry if silent pictures- should make a
box office success will be so great that some major
company should make the experiment ; it could
make such an experiment with a story of the "B"
or "C" magnitude, thus reducing the risk to the
minimum, for if such pictures should be accepted
by the public the cost of production will be almost
halved, for most of the waste takes place in the
reshooting of each scene until the director is satis-
fied that, not only the acting is right, but also the
lines are spoken effectively as well as correctly.
With the talk removed, two shootings, will do
where anywhere from five to to twenty, or even
more, shootings are now necessary.
Shooting the "B" and the "C" pictures in silent
form should benefit the picture makers also in
another way: it will prove to them that telling the
story by action rather than by dialogue is infinitely
more effective. Thus they will sec fit to adopt the
policy of so telling the story also in the talking pic-
tures. And when they eliminate at least one-half
of the dialogue, not to say two-thirds, as it is
possible for them to eliminate, the cost will be
reduced considerably — to such an extent, perhaps,
(Continued on last pncic)
166
HARRISON'S REPORTS
October 21, 1939
"Mutiny in the Big House" with Charles
Likktcrci, Dennis Moore, Barton MacLane
{Monogram, Oct. 10; time, 83 mm.)
Take the name '"Monogram" out of the introductory title
and put in its plaec "Paramount," '"KKO," or the name of
any ot.ier major company, and you will think that this is
one oi their very good "B" prison-theme pictures. Although
the thrills are not as plentiful as those in big prison pic-
tures ot major companies, there are thrills, just the same,
and one is held in pretty tense suspense throughout. There
is also considerable human interest, caused by the fact that
Bickford, a prison chaplain, has faith in Dennis Moore,
who had been sent to prison for forging a small check to
enable him to buy food for his sick mother. Not even the
faU that Moore acts tough ail the while induces Bickford
to change his mind. And the fact that in the end Moore
risks his life to quell an uprising, in which some of the
guards had been killed by the leader of the revolt, and the
lives of others were in danger, proves Bickford's (Father
Joe's) understanding of human nature correct. The thrills
are caused by the prison riot, during which Bickford,
unafraid of the threats of Barton MacLane to shoot to
kill him, unless the warden opened the prison gates to let
them escape, walks towards the revoiters, enters their
territory and pleads with them to spare the lives of the
prison guards, whom they held as hostages, and to give
themselves up on the ground that their resistance was
useless. It is then that the presence of mind of Dennis
Moore and his courage bring about the suppression of the
revolt.
The situation that shows the priest disregarding the
danger to his life, and going into the part of the prison in
winch the prisoners had barricaded themselves, is supposed
to have been taken from an occurrance in real lite. The
story 's by Martin Mooney ; the screen play, by Robert
Andrews. William Nigh directed it.
Suitability, Class A for adults and for adolescents, Class
B for children under twelve.
"Disputed Passage" with Dorothy Lamour,
John Howard and Akim Tamiroff
(Paramount, Oct. 27; 91 min. )
A good human-interest drama. The constant conflict
between Akim Tamiroff, a famous surgeon, and John
Howard, his assistant, keeps one in suspense, for one does
not know what the consequences will be. Although the
story itself is not novel, it has been given a few new twists.
The scenes in war-torn China, which show the misery and
suffering of the helpless people on account of the inhuman
acts of the enemy, such as bombing of villages and the like,
tear at one's heart. These scenes are starkly realistic. The
production values are excellent. The romance is an impor-
tant part of the story : —
Akim Tamiroff, a stern but brilliant surgeon, takes under
his wing John Howard, because he recognized a fine sur-
geon's skill in him. Tamiroff is annoyed to learn that
Howard had fallen in love with Dorothy Lamour, a white
girl born and reared in China, for he felt that marriage
would ruin the young surgeon's career. Calling on Dorothy,
he persuades her to give Howard up. Dorothy goes away,
leaving behind a note for Howard. He is so distracted that
he neglects his work. At last Tamiroff reveals to him why
Dorothy had disappeared. Enraged, Howard goes to China
in search of her. In a raid by Japanese aeroplanes, he is
wounded severely and the village doctor cables to Tamiroff
for help. Tamiroff arrives and saves Howard's life. Dor-
othy learns of the tragedy and goes to Howard. This hrings
back to him his desire to live. Tamiroff is softened by the
sad experience.
The plot has been taken from the Lloyd Douglas novel.
Anthony Veiller and Sheridan Gibney wrote the screen
play. Frank Borzage directed it, and Harlan Thompson
produced it. Judith Barrett, William Collier, Sr., Victor
Varconi, and Keye Luke are some of those in the cast.
Class A.
"These High Grey Walls" with Walter
Connolly, Onslow Stevens, Iris Meredith
(Columbia, Sept. 21 ; running time, 82 min.)
A fair prison melodrama. The action is fairly fast, some
of the acts of the characters appeal to the emotions of
sympathy, and the spectator is held in fairly tense suspense
in one of the situations. This is where the prison doctor and
the hero, his assistant, arc held up at the point of a gun, by
one of the convicts while they were performing a serious
Operation. There is a romance, but it is not of prime
importance : —
Walter Connolly, a country doctor (hero), is sent to
the penitentiary for having extracted a bullet from a young
man and failing to report the matter to the authorities ; he
had reared the young man and, out of sympathy for him,
tried to shield him. At the prison, Connolly is a model
prisoner. In time he impresses the prison doctor (Onslow
btevens) with his skill as a physician, and is transferred
to the prison hospital. The visiting wife of one of the
prisoners is seized with labor pains, but Stevens, dreading
childbirth cases because of a tragic experience in his life,
instructs Connolly to attend to her. Connolly, however,
with a view to curing him of that ailment, insists that he
aid him in the case. Stevens thanks the hero after the
delivery. While the two were performing a serious opera-
tion on a prisoner, another prisoner enters the hospital and,
at the point of a gun, tries to make them help him escape,
but they refuse to do so until after the operation. The
prisoner faints at the sight of the operation and they take
the gun away from him. An inmate dies from an overdose
of a sedative and the hero is accused of the murder. But
the other prisoners, who believed in the hero's innocence,
in order to repay the hero for his many kindnesses to them,
put a suspect through a third degree and make him confess.
The hero is paroled.
The plot was based on a story by Wm. A. Ullman, Jr. ;
the screen play was written by Lewis Meltzer. B. B. Kahane
produced it, and Charles Vidor directed it. Bernard Ncdell,
Oscar O'Shea and others are in the cast.
Suitability, Class B.
"Mr. Smith Goes to Washington" with
James Stewart, Jean Arthur, Claude
Rains, Edward Arnold, Harry Carey
(Columbia^!' > ank Capra, Oct. 19; 2 hrs. and 7 min.)
Very good, but it cannot be compared in entertain-
ment value with either "Mr. Deeds Go to Town," or "Lost
Horizon." Although there are in it many powerfully dra-
matic situations, the story impresses one as being motivated
for the exposing of political crookedness rather than for
the presenting of a virtuous hero. The scenes where the
hero is framed by the political crooks because he would not
fall in line with their schemes are dene very well ; they
awaken deep sympathy for the hero. The scenes where he,
inspired and guided by the heroine, stands up and fights in
the Senate, holding the floor until he is vindicated, are
impressive in the extreme. Mr. Stewart, as the hero, handles
his part with skill. Jean Arthur is very good as the hero's
private secretary, who knew all about the crooked schemer,
of those who were framing him. Claude Rains is realistic
as the hero's colleague, tool of Edward Arnoid. the political
manipulator and maker of senators. Harry Carey is very
impressive as the Vice President: —
Guy Kibbee, Governor of a western state and a weakling,
is inspired by his children to appoint James Stewart as
Senator for the unexpired term of a deceased Senator, dis-
regarding the advice of Edward Arnold, head of the politi-
cal machine. Arnold is at last persuaded to accept him.
Thus Stewart, equipped with youthful enthusiasm, patrio-
tism and naiveness, goes to Washington to represent his
state in the Senate. But soon he is disillusioned ; he learns
that his colleague had been taking orders from Arnold for
twenty years. Yet he refuses to withdraw his bill for a chil-
dren's camp in his state, which bill would ruin the machine's
chances for graft. Arnold talks to him with a view to
making him change his mind, but he refuses to budge ;
thereupon, Arnold has some papers forged making it appear
as if Stewart was interested in the bill financially, and has
that colleague demand his unseating. Bewildered, the
hero is about to give up when cynical Jean Arthur, his
secretary, inspired by his honesty, guides him as to how he
could fight for his rights : he takes the Senate floor and. by
filibustering, prevents an immediate vote on his expul lion
from the Senate. After twenty-four hours he collapses. His
colleague, feeling guilty, confesses to the Senate that the
hero was telling the truth in everything. Jean Arthur and
he become engaged.
The story is by Lewis R. Foster ; the direction, by Mr.
Frank Capra himself. Others among those in the support-
ing cast are, Thomas Mitchell, Beulah Bondi, Eugene
Pallette and H. B. Warner.
Class A.
"The Flying Deuces" with Laurel and Hardy — an RKO
picture. Pretty good. "Missing Evidence," Universal, a
good program melodrama. "The Cat and the Canary,"
Paramount, a good spooky melodrama. Reviews in next
week's issue.
October 21, 1939
HARRISON'S REPORTS
167
"The Pride cf the Blue Grass" with James
MeCallion, Edith Feliowes, Granville Bates
{Warner Bros., Oct. 7 ; time, 64 min.)
Lovers oi horses should enjoy this program picture very
wed. There is considerable human interest, engendered by
the lo>aity and the trustworthiness of the young hero, who
had been accused wrongly of having "pulled" his horse in
a race. '1 he horse who is the center of attraction is fine and
proud, and Wins one's love. There is no romance, but there
is a friendship between the young hero and a young girl,
daughter ot the owner of the stables. The girl has laith in
the young hero and, as a result of it, the young hero gets
his chance to show his real character. There is a thrilling
horse race : —
"i he young heroine has faith in the young hero, despite
his dead latner's bad reputation at race tracks. But her
father, a horse breeder, refuses to employ him, and in-
structs his daughter not to have any dealings with him.
The hero, when his house is auctioned off to pay his
father's debts, manages to conceal a foal and, before de-
parting, presents it to the young heroine. Months after-
wards she hears that he had been arrested as a vagrant and
goes to the judge, who was a friend of the family, and has
him paroled in her custody. She then prevails upon her
father to give him a job. The foal had by this time grown
into a spirited horse, but no one except the hero could
manage him. Without her father's knowledge, the heroine
enters the horse in a race with the hero as tne jockey, and
the horse wins it. The father is now sotten:-d toward tiic
hero, and he allows him to ride the horse in the next race,
in which he had bet heavily. The horse loses and the hero
is accused of having pulled it. He is unable to convince any
one of his innocence. Soon afterwards, however, the horse
goes blind. The heroine's father orders that the horse be
shot, but the hero hides him. The hero discovers that the
horse, when mounted by him, would take any jump and,
alter training him for a while, enters him in a steeplechase,
fie wins the race. He thus reestablishes himself with
everybody.
The screen play is by Vincent Sherman. William Mc-
Cann directed it.
Suitability, Class A.
"At the Circus" with the Marx Brothers
(MGM, Oct. 20; 86 min.)
It is about the worst Marx Bros, picture seen in years.
Some excitement is caused in the closing scenes, where a
ciicus is brought to a society woman's back yard. There is
much horseplay in those scenes.
The story is inconsequential : when Kenny Baker, a
society fellow, buys a circus, he is disinherited. Wanting
to modernize the show, he seeks to borrow $10,000. James
Burke, his manager, knowing that, with $10,000 he could
make the circus successful, steals the cash money. Thus
Kenny is about to lose the circus. Chico, a handyman in the
circus, engages Groucho to handle Kenny's legal affairs.
With the aid of Chico and Harpo, lawyer Groucho man-
ages to recover the money. Kenny eventually becomes en-
gaged to Florence Rice, one of the circus performers.
The screen play is by Irving Brecher; it was produced
by Mervyn LeRoy, and directed by Edward Buzzell.
Children should enjoy it, but hardly any adults. Suita-
bility, Class A.
"Three Sons" with Edward Ellis, William
Gargan and J. Edward Bromberg
(RKO, Oct. 13; running time, 12 min.)
Although this picture has been produced as better than
one of program grade, it is not good entertainment, by
reason of the fact that none of the three sons turns out to
be a worth-while person. Even the daughter fails to show
any decent traits. It is the Lester Cohen novel "Sweep-
ings," produced by RKO in 1933, with Lionel Barrymore
as the father. That picture, too, turned out a poor enter-
tainment, and proved a box office failure, for the very
same reasons — because the main characters, with the ex-
ception of the father, are unsympathetic. Edward Ellis
certainly fails to measure up with Lionel Barrymore; he
does nothing but walk through the picture when he does
not make speeches. His hard work to build a fortune for
his children certainly proves a disappointment, not only to
him, but also to the picture-goers. A little comedy here
and there redeems the picture somewhat : —
Edward Ellis and [Catherine Alexander (wife) arrive in
Chicago with their four children just after the fire. They
ope n a small drygoods store and in time they develop it into
one of the biggest department stores in the west. The father
dreamed of the day when his children would take ( barge of
the business but he is sadly disappointed : the eldest son
toured turope, spending money in pleasures ; although
married, he had had an affair with a singer. The father's
effort to make him break with her results in tragedy — the
uneie is shot and killed by the woman. The daughter mar-
ries a Prince and goes through scandalous divorce pro-
ceedings. The second son is spineless. The third son, having
become involved with a girl, leaves home and becomes a
bum. 1 hus the father is left all alone. The fortune dwindles
and the stock is about to be acquired by others when
Bromberg steps in and buys it, donating hah of it to his
former boss. Ellis dies, surrounded by his penitent children,
who had been summoned home.
the screen play was written by John Twist. Jack Hively
directed it and Bob Sisk produced it. Virginia Vale is the
daughter ; Kent Taylor, Robert Stanton and Dick Hogan,
the sons.
Because of the affairs of two of the sons, suitability,
Class B.
"Ninotchka" with Greta Garbo
and Melvyn Douglas
(MGM, Nov. 3 ; running time, 110 min.)
"Ninotchka" is first class entertainment, and of an un-
usual kind. While it has a powerful romance, the story is
in the main a travesty upon the way representatives of
Soviet Russia do business in their dealings with the capi-
talistic world. It is not Soviet propaganda in the least; on
the contrary, it "kids" the doctrines of Soviet Russia. The
pleasure comes not so much from the "kidding" itself, but
from the way it is done; and by Miss Garbo herself.
Lleretofore, Miss Garbo has acted either in tragic or in
dramatic roles, but this is the first time that she has under-
taken a comedy role ; and she shows as great an ability. In
her dry, unemotional way of expounding the philosophy
of communistic Russia in business mattcis, she should split
the sides of those who will see the picture. The romance
between Greta and Melvyn is impressive ; Melvyn falls in
love with her and at no time does he lose his courage in his
determination to bring out the woman in her, penetrating
the mask that had been superimposed on her by the Soviet
philosophy. Sig Rumann, Felix Bressart, and Alexander
Granach contribute a great deal of the comedy : —
A committee of three representing the Soviet Board of
Trade arrive in Paris to sell jewels that had been confis-
cated from Grand Duchess Swanna (Ina Claire), head of
the White Russians in exile, to buy tractors with the pro-
ceeds ; the Committee is lodged in the Royal Suite of an
expensive hotel. Ina is informed of it by a loyal hotel waiter
and instructs her resourceful aristocratic boy-friend ( Mel-
vyn Douglas) to stop the sale with an injunction. Although
legally he is helpless, Melvyn manages to throw the ques-
tion of the ownership of the jewels into the courts. The
Russian comrades are having the time of their lives living
in grand style when the arrival of Comrade Ninotchka
(Greta Garbo) brings them to their senses. She permits
no nonsense to divert her from her duty to the Soviet.
Melvyn accidentally "bumps" against Greta in one of the
streets of Paris and, struck by her beauty, pursues her,
not knowing who she is. He takes her to the Eiffel Tower
and to other places, but her veil of unemotionalism is not
penetrated by a display of even the slightest pleasure; she
takes every "capitalistic" thing indifferently. But Douglas
falls in love with her and is determined to dig out the
woman from within her and to make her fall in love with
him. When she finds out who he is, she refuses to see him ;
but he persists. Soon she melts ; she buys Parisian clothes
and becomes transformed. And what is more, she kisses
Melvyn. Through trickery the Grand Duchess gets the jew-
els and, possession being nine points of the law, she compels
Comrade Greta to agree to depart for Russia immediately,
leaving Douglas alone, in return for which she signs over
the jewels. Greta returns to Russia with the other members
of the committee, but she cannot forget Douglas, The
Government sends the three Comrades to Constantin >ple
on business but, when they arrive in that city, they spend
their time in pleasure. The Commissar sends Greta to bring
them back to their senses. When she arrives, her pleasure
is indescribable, because Douglas was there to me.t her.
It was he who had been entertaining the Comrades with lb.-
slim hope that the Government would take the very action
it had taken before.
The plot has been founded on a story by Melchior
Lengyel ; the screen play was written by Chas. Bracket!;
the picture was directed by Krnst Luhitsch.
Every theatre should run it ; morally, it is suitable for
everybody, but its appeal is directed chiefly to cultured
picture-goers. Class A.
168
HARRISON'S REPORTS
October 21, 1939
that they will not have to worry much about the
reduction in the receipts from the foreign market.
Tnis is a bold suggestion ; but one of these days
an enterprising executive of some major company
will decide to risk a certain sum oi money in the
production of a silent drama as a test, and if it
should prove successful his name will go down to
posterity as the industry's benefactor. After all,
millions' of dollars are wasted each year in the
production of unworthy stories; what if a few
thousand dohars should be risked to demonstrate
the feasibility of something that may save millions
of dollars in production?
PENNY-WISE AND POUND-FOOLISH
The October 11 issue of Motion Picture Daily
has the following news item :
"Several companies are considering complete
elimination of appropriations for newspaper co-
operative advertising of their pictures.
"This is being considerd along with other cash-
conserving proposals which may or may not be
included in the retrenchment programs. . . .
"The industry spends about $1,000,000 to $1,-
500,000 annually on cooperative advertising, this
representing the distributors' share of first-run
theatres' advertising in local newspapers. The ex-
penditure ranges from $100,000 to $200,000 per
company annually."
In plain language, the decision of some of the
major companies means that they will no longer
share with the exhibitor in the advertising that is
done for their top-bracket pictures in the local
newspapers before and during the showing of such
pictures.
Sharing in the advertising that is done for per-
centage pictures is an established custom ; it was
started by the theatrical industry long before pic-
tures were even dreamed of, and accepted by the
moving picture industry when it began roadshow -
ing its first big pictures, such as "Cabiria," "Dante's
Inrerno'' (not the Fox version, but the Italian),
and "The Birth of a Nation." To abandon the sys-
tem now .is to forego a practic^ that has been in-
grained in. the mind of the exhibitor as the just
method of advertising percentage pictures. It will
have no other result than to add another cause for
exhibitor dissatisfaction.
Those of the major companies that intend to
abandon cooperative advertising may save any-
where between $100,000 and $200,000. How much
they will lose by the insufficient newspaper adver-
tising that will be done on their percentage pictures,
as is bound to happen because the exhibitor will
feel aggrieved, cannot be computed, for it is one of
the looses tnan can in no way be determined. And
how much they will lose by the loss of newspaper
good will cannot be computed either.
1 1 they would stop spending anywhere from five
hundred to a million dollars on stories that haven't
a Chinaman's chance of making good pictures, they
will not need to economize on such puny items —
puny as compared with other items of expenditure.
It is at the studios where the waste is done and
not in the advertising of the pictures.
Advertising is the life-blood of a business. Stop
the: advertising and a manufacturer's business dies
of asphyxiation. That is exactly what will happen
to the percentage pictures, too, if the producers
should stop encouraging the exhibitor to advertise.
DO WE HEAR THE AMERICAN
EXHIBITORS' VOICE?
"Possibiy the higgest source of unrest in the film
business today," says Mr. J. W. Dent, Editor and
Publisher of The Australian Exhibitor (Sydney),
official organ of Australian Motion Picture Ex-
hibitors' Association, "is the tendency of film dis-
tributors to abuse the grouping system by con-
sistently enlarging the top groups, and classifying
ordinary 'A' features in those groups."
The article continues in a similar vein and points
out the fact that, although not the full number of
pictures sold on the contract is delivered at the end
of each picture season, the shortage is "almost in-
variably m the lower group," and then says :
"This is a distinct breach of faith with the ex-
hibitor, and it is of such insidious nature that rela-
tionships are bound to be bad until it is stopped."
Alter pointing out the fact that some of the stars
that appear in the top-group pictures are "has
beens," Mr. Dent says :
"In fact, most exhibitors believe that the dis-
tributors' idea of top groups is to get top money,
and what gees into them is of secondary considera-
tion. Repeated short delivery in past years, nearly
always in the bottom group, reveals the tendency to
make a welter of the top group idea. ..."
You would think that, when Mr. Dent was writ-
ing this article, he was writing for the American
exhibitors. He could not have expressed the facts
more accurately had he been writing for them, and
not for the Australian exhibitors.
At the beginning of the negotiations between the
Allied and the distributor negotiating committees,
it was decided that the exhibitors be given a can-
cellation privilege of 10%, 15%, and 20%, the par-
ticular percentage in the case of each exhibitor de-
pending on the average amount he paid for the
film ; but no sooner was this decision announced
than the sales forces began to increase the number
of pictures in each top group, the intention mani-
festly being, as the Allied leaders accused, to nulli-
fy the cancellation privilege. Only that in Australia
there have been no such negotiations ; the distri-
butors there just increase the groups and let it go
at that.
When the accusation was hurled at the distribu-
tor negotiating committee during the Minneapolis
convention, the members of that committee assured
the exhibitors present that, if any "chiseling"' was
done, it was done without their knowledge, prom-
ising them to issue orders to their sales forces to
desist ; they stated definitely that may a salesman's
scalp would be taken were they to disregard the
new instructions.
But "chiseling" is going on, just the same, as I
am judging by the letters that I am receiving from
exhibitors. The following is a part of the latest
letter that I have received from a Chicago ex-
hibitor :
"The situation between the Chicago exhibitors
and the distributors has become serious enough to
warrant being brought to your attention.
"Despite the national policy announced by
Warner, Metro, Fox, etc., shorts and newsreels
ARE being forced. Now, I ask, how much do the
solemn pronouncements of the distribution heads
mean ? A salesman offers a deal for $2,000 ; and a
short subject deal. You don't want shorts ? The
deal goes to $2,250 for features. Who's crazy
Yes, who ?
Entered as »eeond-class matter January 4, 1921, at the post ofBee at New York, Nw York, under the aet ©f Jferah », 16T9.
son's Reports
Yearly Subscription Rates: 1270 SIXTH AVENUE FoWshed Weekly by
United States $15.00 1«19 Harrison's Report*, Inc.,
U. S. Insular Possessions. 16.50 ROOm lfl" Publisher
Canada 16.50 New York, N. Y. P. S. HARRISON, Editor
Mexico, Cuba, Spain 16.50 . „, . _. . _ . _ .
Great Britain 15.75 Motion P,cture Reviewing Service w,t-hil*^ T„!v 1 «iq
Australia, New Zealand, Devoted Chiefly to the Interests of the Exhibitors Established July 1, 1919
India, Europe, Asia .... 17.50
otr. ~ rv,™ Its Editorial Policy: No Problem Too Big for Its Editorial Circle 7-4622
u0° a ^opy Columns, if It is to Benefit the Exhibitor.
A REVIEWING SERVICE FREE FROM THE INFLUENCE OF FILM ADVERTISING
Vol. XXI SATURDAY, OCTOBER 28, 193Q No. 43
"PHONY"!
In a recent issue of his paper, W. R. Wilkerson,
the Hollywood sage, wrote a superficially dignified,
seemingly sincere, laboriously impressive editorial
the object of which appears to be to lead you into
believing that the small-cost pictures make you
more money than the pictures that cost the pro-
ducers a million or more, his purpose evidently
being to prepare you for the scrapping by the major
companies of the high-cost pictures owed you for
the remainder of the season without arousing your
resentment. Says sage Wilkerson :
"We had an opportunity the other day to go over
the figures on releases for the past fourteen months
on the product of one of the top majors. Those fig-
ures told a great story and one the war had nothing
to do with, or would ever have anything to do with.
Those figures focussed astonishing grosses on the
better bread-and-butter product and disappointing
returns on the big shows, running from $900,000
to $2,000,000. The figures analyzed proved that
[that] great company would have been out of busi-
ness COMPLETELY had it only released [re-
leased only] its big expensive product and, further,
if the company had not had those big expensive
productions, it would have made more millions
than have ever been counted in this industry as a
result of the success of its product that ran from
$102,000 to $485,000.
"After reviewing the figures with the studio
exec, we inquired : 'Why in hell do you make those
heavy negatives?' He replied: 'We had to make
some to prestige our program.' Sounds silly be-
cause, for that company to run up such big grosses
on its bread-and-butter shows, the'exhibitor had to
run up substantial profits for his house, so why the
prestige shows ? Does not such activity further con-
firm a production vanity that has virtually sunk this
business on more than one occasion?"
What Billy Wilkerson, under his barrage of
verbiage and complicated sentence structure, means
is this : Among the releases of the major company
he refers to, the pictures that cost $900,000 or
more, up to $2,000,000, have lost money for the
company, and the pictures that cost anywhere from
$102,000 to $4cS5,000 have made money, for the
exhibitors as well as for the producer — so much
money, in fact, that, were it not for the high-cost
pictures, the company would have made many more
millions of profit, whereas if it had prdouced noth-
ing but high-cost pictures, it would have been out
of business by this time — completely out! lie then
asked this executive why in the name of common
sense he should continue to produce high-cost pic-
tures since the exhibitor makes good profits out of
the low-cost pictures, the implication being that, if
the exhibitor allowed the producer to drop the mil-
lion dollar pictures and produce more low-cost
pictures, the exhibito'r profits would be greater;
and so would be the producer's.
Wilkerson's whole argument is, in my opinion,
"phony" — so "phony," in fact, that it should be ap-
parent at once to any one who would stop to analyze
the facts he presents. Just take one of these facts :
He says that some of the pictures of this major
company have cost $102,000. I don't know what
major company he refers to, since he does not even
intimate it, but that should not make much differ-
ence, for no major company can make, for that
amount of money, pictures that are fit even for a
double bill. The studio overhead of the biggest of
the major companies ranges anywhere from $125,-
000 to $200,000 per picture, the amount depending
on the company. How can a major, then, produce
pictures for $102,000 when his overhead alone is
more than that amount of money ?
In order that even the newest exhibitor amongst
you may understand what "studio overhead*
means, allow me to say that this item represents
studio maintenance, which includes the salaries of
the executives and their bonuses, if any bonuses are
paid them. It does not represent anything that goes
into the actual production of the picture. If the
overhead of a studio is $200,000 per picture, $200,-
000 is added to the cost of production before
"shooting" of the picture begins — as soon as the
decision to produce a particular picture is made.
There is no other way by which studio maintenance:
can be taken care of. At any rate, adding the pro-
portional studio overhead to each picture has been
the practice.
One of his other specious arguments is this: he
says that, had this producer made nothing but pic-
tures that cost him anywhere from $900,000 to
$2,000,000, he would have been "completely" out
of business by now. Has any major ever sold you
his pictures on the basis that they would cost him
these sums? In other words, has any major ever
sold you all "A" pictures, without any "B's" and
"C's"? Does Mr. Wilkerson know that there isn't
one major company but sells you its pictures in
four, five, or six groups of different prices ? I doubt
whether he knows it ! If he did, he would not have
made such a statement.
Notice particularly the following reasoning: he
says that, since you make a substantial profit out of
the "bread-and-butter pictures," that is, the pictures
that cost anywhere from $102,000 to $485,000, you
should not complain if the producer in question,
whoever he is, should drop from his production
schedule the high-cost pictures he has promised
you in the beginning of the season, because they
(Continued on last /><!</(•)
170
HARRISON'S REPORTS
October 28, 1939
"Sued for Libel" with Kent Taylor, Linda
Hayes, Morgan Conway and Lilian Bond
(RKO, released Oct. 27; running time, 66 min.)
A tair program melodrama, suitable for a double bill.
Although the production values are good, the story is so-so ;
it holds one's interest fairly well. Its chief asset is the spec-
tator's difficulty to guess who the real murderer is.
Because' of the iavorable testimony . of the murdered
man's wife, Morgan Conway is acquitted on the charge of
having murdered his partner and best friend, but Kent
Taylor, reporter for a. newspaper and dramatizer of court-
room events over the radio, is given trie wrong information
and announces over the radio that Conway had been found
guilty. As a result, Conway instructs his lawyer to bring
suit against the Bulletin for damages, laylor, determined
yet to prove Conway guilty of murder, proceeds to investi-
gate htm. He is helped by Linda Hayes, who loved Taylor.
But they find it d.fiicult to pin the murder on Conway. They
then start investigating the death of a girl who was sup-
posed to have killed herself for love of him, Conway. Their
invest. gations lead them to a young doctor, but when
'laylor calls on him after an appointment to interrogate
him he finds him murdered. In the end, however, it comes
to light that all three murders had been committed by
Lilian Bond, whose purpose in testifying for Conway was
nothing more than to conceal her own crime.
The screen play is by Jerry Grady; the direction, by
Leslie Goodwins. Cliff Reid produced it.
Suitability, Class B.
"Scandal Sheet" with Edward Morris,
Otto Kruger and Neda Harrigan
{Columbia, October 16; time, 65 min.)
A fair double-bill murder melodrama, revolving mostly
around the heartless editor of a tabloid paper. There is
some human interest, and the action unfolds at a pretty fast
pace. '1 here is no romance : — ■
Otto Kruger, heartless publisher of a tabloid newspaper,
attends graduation ceremonies at a college and listens to
Edward Norris, a graduating student, extoll in his vale-
dictory the virtues of clean journalism. At the end of the
ceremonies, Kruger offers Edward a job in his newspaper.
Edward is elated at the offer from so famous a publisher,
but he is unaware of the fact that Kruger was his father
(evidently out of a love union). On his first assignment
Edward has an opportunity to observe hew cruel were the
methods of those who worked for Kruger's paper and
resigns. He obtains a position on a rival paper. The city's
reform element is hot after Kruger and he, to stop the
leader in his tracks, employs an unscrupulous character to
bring to light a skeleton in his closet, if there should be one.
But the detective unearths evidence proving that there was
something "shady" in Edward's mother's past. Kruger
offers him very little for the information, but because the
detective wanted an unreasonable sum there is a scuffle and
Kruger kills the detective. Edward finds a murder clue and,
by following it up, proves to the district attorney that
Kruger was the murderer. Kruger is called to the District
Attorney's office and is compelled to admit his guilt, but
gives self-defense as the motive. At the trial Kruger could
have cleared himself but that would ruin Edward and his
mother. He keeps his lips sealed, preferring conviction.
'Joseph Carole wrote the screen play, and Nick Grinde
directed it.
Because of the murder and the unscrupulousness of the
newspaper publisher, it is hardly suitable for children under
twelve. Satisfactory for others. Class B.
"Call a Messenger" with Mary Carlisle,
Robert Armstrong, El Brendel and
Jimmy Butler
(Universal, November 3; 64 min.)
A good program melodrama, with some human interest,
and with action unfolding at a fast pace. The background
is different; it is that of telegraph offices, with telegraph
employees as the chief characters. This fact adds to the
iqtere.sjt. The theme deals with the reformation of a group
of tough boys, from the slums ; and it is done convincingly :
While about to burglarize a Postal-Union Telegraph
office, Billy Halop (a "'Dead End' Kid"), a tough boy
fnoffl the slums, is captured by the police but his pals escape.
At the police station Robert Armstrong, district manager
for the company, before. signing the complaint against him,
offi rs him a job as a messenger; he felt that Billy's reform
could l>e effected better that way than in a reformatory.
Billy accepts. Being the head of his gang, he compclls also
all ihc others to get jobs as messengers with his company.
': ir- influence of the environment, coupled with the charms
of Mary Carlisle, effect immediate reform on them all.
Billy's brother (Victor Jory) is released from jail and he
and his sister are glad to have him back. Billy tries to
make him get an honest job, but Victor persists in the old
life. Victor's pals decide to rob the Postal-Union offices.
After robbing some of them they decide to rob also the
office where Billy was assigned. Victor breaks away from
his pals and informs Billy of the contemplated robbery.
Billy, armed with a gun, was awaiting. One of the robbers
enters, a scuffle endues, the police are informed, and the
robbers are captured, Billy's pals helping the authorities.
All the boys are praised by the heads of the company for
their loyalty. Robert becomes engaged to Mary.
The story is by Sally Sandiin and Michael Kraikc ; the
screen play, by Arthur T. Horman. Arthur Lubin directed
it, and Ken Goldsmith produced it. Huntz Hall (another
"'Dead End' Kid"), George Offerman, Frances O'Neil,
and the "Little Tough Guys," Haly Qicster, William
Benedict, David Gorcey, Harris Berger, are in the cast.
Because of the moral lesson it conveys, Class A as to
suitability.
"Shipyard Sally" with Gracie Fields
and Sidney Howard
(Twentieth Century-box, Oct. 20; 79 min.)
Gracie Fields is a first-class drawing attraction in Great
Britain ; all the exhibitor there has to do is to announce
her name in the lobby and the crowds flock to his theatre.
But in the United btates Miss Fields, though a capable
actress, has not gained any popularity, chiefly because of
the poor story material given her — that is, poor in so far as
American picture-goers are concerned.
The quality of this picture is, from the point of view of
Americans, poor, because the story is inconsequential. It
deals with a heroine whose father, a card sharp, when
stranded at Clydebank, the shipbuilding town, uses all the
heroine's money for the purchase of a pub (saloon) ; he
becomes sick of the stage. The heroine, when she hears the
bad news, has to make the best of it. She rolls up her
sleeves and decides to help her father make it a success.
Shipbuilding at Clydebank is suspended and the men become
so poverty-stricken that the heroine decides to undertake the
mission of calling on Lord Randal, of the Admiralty, in
London, to induce him to order resumption of the work.
Because she is unable to get near him, she has to resort to
deception ; she impersonates an American actress, who was
to be the chief entertainer at the Lord's. Her identity is
discovered before she had a chance to present the petition
to Lord Randal and she is ordered out of the house. She
flings the petition to his face and goes. When she reaches
Clydebank, she is surprised by the great reception given
her by the workers. She learns that Lord Randal, impressed
by her petition, had ordered resumption of work.
The story and screen play is by Karl Tunberg and Don
Ettliuger ; it was produced by Robert T. Kane and directed
by Monte Banks.
Suitability, Class A.
"Television Spy" with William Henry,
Judith Barrett and William Collier, Sr.
(Paramount , Oct. 20; 57 min.)
A nice little picture. It holds the interest pretty well.
Although the development of the plot is no different from
the development of plots in espionage pictures, in which
the villains attempt to obtain blueprints of secret inventions
of great military value, the fact that this is the first time
that television has been employed as the basis makes the
picture somewhat refreshing : —
William Henry, a young inventor, outshouts William
Collier, Sr., an old wealthy "crab" and compells him to
witness a demonstration of long distance television trans-
mission which he had invented. Collier is so impressed, not
only with the young inventor's courage, but also with the
possibilities of the invention from a military point of view,
tiiPt he allots Henry a large sum of money for perfecting it,
his intention being to present it to the United States govern-
ment. While conducting tests he uncovers a "bootleg" sta-
tion on his own wave length but is unable to locate its
position. In time he learns that his own plans had been
copied without his-knowledge by persons who were trying
to obtain the secret so that they might sell it to a foreign
government for a large sum of money. But Hines, Collier
and those who worked with them succeed, at the risk of
their lives, in having the spies arrested. Thus they prevent
the delivery of the plans to the agent of the foreign
government.
The story is by Endre Bohem ; the screen play, by Horace
McCoy, William R. Lipman and Lillie Hayward. It was
directed by Edward Dmytryk. Some of the others in the
cast are Richard Denning, John Eldredgc, Dorothy Tree,
and Wade Boteler.
Suitability, Class A.
October 28, 1939
HARRISON'S REPORTS
171
"The Housekeeper's Daughter" with John
Hubbard, Joan Bennett, Adolphe Menjou,
William Gargan and George Stone
( United Artists-Hal Roach, Oct. 12 ; 79 min.)
Excellent! It is one of the most intelligently produced,
most highly entertaining, comedies that have been made in
years. And what is more, it is the kind of comedy that
should please everybody — the masses as well as the classes.
It is a murder comedy-melodrama, but its mood is almost
altogether comical.
The laughs arc caused by the situations as well as by the
dialogue ; often laugh-provoking remarks are drowned out
by the laughter.
Most of the situations are unusual. In one of them
Gargan, a newspaper cameraman attached to Adolphe
Menjou, a star reporter, in order to play a joke on innocent
John Hubbard, an aspiring reporter and a naive person,
who had been assigned to the murder case on which Menjou
was working, telephones to him from another telephone in
the newspaper office and, impersonating a gangster, threat-
ens his hie. Hubbard becomes so frigntened that he tells
his boss that he wanted to quit. But the joke was on Gargan,
for there were gangsters, and these did plan to harm the
hero unless he stopped meddling in the case, in which their
leader was implicated.
But the joke was also on Hubbard himself, for he, while
in an intoxicated condition, had decided to adopt the
methods of Adolphe Menjou. Adolphe had gained promi-
nence by creating stories out of his own imagination. And
so Hubbard telephones to his office to give them a story he
had decided to fabricate. But while giving to his boss the
supposed facts, he was prompted to make corrections by
Stone, an idiot, who was acquainted with the details of the
murder. The following day the story appears in the news-
paper. Hubbard told Menjou that he was ashamed of him-
self for having pulled such a trick, but the gangsters were
wondering how Hubbard could have known of the case, and
decided to do away with him.
Another humorous situation is that in which Gargan is
shown as having decided to make the "fake" story about
the gangsters' threatening the life of Hubbard appear real
to the public. He planned to have a rough-looking person
stand in front of Hubbard's house while he, Gargan, was
snapping a picture so that the public might think that that
person was a real gangster. But the joke of it was, when the
picture was taken, the person standing at the door was a real
gangster, sent by the head gangster to shoot Hubbard for
continuing on the murder story.
The doings at Hubbard's house, where the gangsters had
gone to manhandle Hubbard, are, not only laugh-provoking,
but also exciting. On the roof are Menjou and Gargan
shooting fireworks as a sort of advance Fourth of July
celebration; within the house are gangsters, holding up
everybody. There is excitement on the roof, and excitement
within the house, with Donald Meek, the editor of the paper,
who had gone to Hubbard to upbraid him for having sent
him a fake story, but who had then realized that the story
was not fake, hiding behind a desk and summoning police
help by telephone. At that moment, Gargan and Menjou,
unaware of the presence of the gangsters, descend from the
roof and go to the living room where the excitement
reigned. Menjou was holding in his hands one of the harm-
less fireworks that looked like a bomb. Gargan led every
one to believe that Menjou was demented, and that what he
was holding in his hands was a bomb. Menjou was pre-
tending to be demented, and threatened to blow every one
to pieces.
The picture is full of such situations.
The plot has been founded on the Donald Henderson
Clarke novel. The screen play was written by Rian James
and Gordon Douglas. Hal Roach himself directed the pic-
ture. Peggy Wood, Victor Mature, and Louis Alberni, too,
are in the supporting cast.
Because it is a comedy, it is suitable also for children,
despite the murder theme. Class A.
"The Flying Deuces" with Laurel and Hardy
(h'KO, November 3 ; 68 win.)
A fairly good comedy — better than the average comedy
of these stars. The action unfolds at a pretty fast pace, and
toward the end there are several thrills, caused by the fact
that the two stars, who did not know how to fly a plane,
find themselves in a plane in the air. Much horseplay results
from their efforts to avoid bumping against either a build-
ing, a hill, or flat ground : —
Laurel and Hardy arrive in Paris to have a good time.
Oliver falls in love with Jean Parker, the inn keeper's
daughter. When lie finds out that she is married, he wants
to end it all. They go to the river so that he may jump in
it, but Reginald Gardiner, Jean Parker's husbaud, an officer
of the Foreign Legion, meets {hem- accidentally arid $?r=--
suades them to join the Legion. In Africa, they set fire to
the laundry and, court-martialed, they are to be shot at
sunrise. They escape from jail, go fo their quarters, pack
their things, and set out to go away when they are appre-
hended and chased. In their efforts to hide, they *ntet.-a
plane, but accidentally they touch the proper lever, and the
plane starts flying. After many hair-raising experiences,
the plane crashes. Laurel escapes unhurt, but Hardy is
killed; he becomes reincarnated in a horse, who was
nearby, so that he might be near Oliver.
The story and screen play is by Ralph Spence. It was
directed by A. Edward Sutherland, and produced by Boris
Morros.
Suitability, Class A.
"The Cat and the Canary" with Bob Hope,
Paulette Goddard, John Beal and
Douglass Montgomery
(Paramount, Nov. 24; running tunc, 73 min.)
A good spooky melodrama, one of those in which the
characters expect a murder, and in which the murder
occurs as per schedule but the identity of the murderer
remains a mystery. The spectator's interest is held tense by
his desire to know whether or not the character who had
undertaken to "tag" the murderer will be successful. Some
creepy feeling is created because of the "haunted house"
atmosphere. There are sliding panels, from behind which
the bodies of missing persons fall out ; the eyes of portraits
hanging on the wall roll ; characters scream from fright at
eerie happenings ; mysterious killings, and the like. And
among all these hair-raising doings, there is jealousy and a
fairly interesting romance.
The action unfolds in a lonely mansion, situated in one of
the Louisiana bayous, where seven persons, all heirs to a
fortune, are gathered to hear the will read by the dead
man's lawyer. In the end it comes to light that the murders
had been committed by one of the heirs, least suspected of
the crimes.
The plot has been taken from the John Willard stage
play, which was produced in 1922 in New York, playing to
14/ performances. It was put into pictures once betore, in
1927, by Universal. Although the present version is good,
it is not as good as the Universal silent version.
Arthur Hornblow, Jr., produced it and Elliot Nugent
directed it.
Although morally it is Class A, it is not good for sensitive
youngsters.
"Smashing the Money Ring" with
Ronald Reagan, Margot Stevenson
and Eddie Foy, Jr.
(Warner Bros., Oct. 21 ; 56 miu.)
A very good program melodrama, revolving around the
efforts of F.B.I, mew to uncover, a ring of counterfeiters.
There are many thrilling. »tuajjiftn& $aus«d: bjc^ha JCiea^ci^f.
of the government men and by the danger in which their
lives are placed. Ronald Reagan does good work as the
Government operative. And-so does Eddie Foy,- Jr;,' as his
co-worker. Joe Downing makes the part of the vicious gang-
ster, which he impersOiiates, realistic *ra "tht !cxtrernc.
Margot Stevenson is pretty good : —
A gang of counterfeiters use the prison's press for print-
ing money. And through their outside connections they dis-
pose of the bills. Joe Downing, head of the gang, decides to
invade a gambling ship for the disposing of the counterfeit
money. The heroine's father, an ex-convict, who owned the
ship, unwilling to become implicated in the job, has himself
arrested so as not to be in the ship when the money was
passed out. Reagan and Eddie Foy, Jr., F.B.I, men, who had
been assigned to the case, are convinced that the heroine's
father was innocent, and have the governor pardon him.
But he is found dead — murdered by the gang. Their investi-
gations lead them to a prison. By arrangements with the
prison authorities, Reagan enters the prison as a convict.
Reagan is taken by the counterfeiters into their confidence,
He finally is able to uncover the ring, among whom was a
prison guard. Reagan's identity, however, becomes known
to the guard, and he is taken for a ride. But he succeeds in
escaping. The prison guard is shot and killed by the au-
thorities. Reagan and Margot become engaged.
The story and screen play was written by Anthony
Coldewey and and Raymond Schrock. Terry Morse di-
rected it.
Because of the fact tint the story deals with a crime, it is
not for children under 12. Class 1'..
172
HARRISON'S REPORTS
October 28, 1939
lose him money ; you should permit him to drop
them, without any complaint. Remember that the
dropping of these pictures is done for the purpose,
not of eliminating losses, but of making more mil-
lions in profits. How do you like that?
Mr. Wilkerson did not think of suggesting to
the executive in question that, if he should drop
his "prestige" pictures, he should also readjust the
exhibitors' contract terms, for an exhibitor would
naturally not have agreed to the terms he accepted
when he signed the contract had he been told at
that time that the high-cost pictures might be
dropped altogether.
Has the studio head of the company he refers to
inspired this story so as to prepare you for the
shock you will undoubtedly feel when you find out
later in the season that he has abandoned pro-
duction of the remaining high-cost pictures ? It is
my belief that you would want Mr. Wilkerson to
answer this question. Until he does, I fear that you,
too, may feel that his story is "phony."
IS "TELEVISION SPY" A PARAMOUNT
ADVERTISEMENT?
Were it not for the fact that Paramount is inter-
ested in television, no question would be made as to
the motives of the Paramount executives in pro-
ducing "Television Spy" ; but it is interested, and
you, the exhibitors, have the right to inquire into
their motives, for the picture is the subtlest appeal
to the public for investing money in television
shares. As a matter of fact, an inquiry as to the
underlying motives of the Paramount executives
could have been made even if Paramount were not
interested in television, for a television company
could not have put out a more effective propaganda
for the sale of television shares ; and it could not
have obtained as large a circulation in any other
way.
Moe Wax, too, editor and publisher of the Film
Bulletin, Philadelphia, comments on the very same
subject in his October 21 issue ; he says partly :
"Paramount is interested in television. 'Tele-
vision Spy' is certainly aimed at making the public
television-conscious. ... If Paramount wants to
use your screen to advertise its new side-line, either
let them make a more entertaining picture, or have
them pay you for the use "of your screen."
No, Mr. Wax! Paramount should not have a
choice of two courses ; they should under no cir-
cumstances be allowed to use your screen even with
a more entertaining picture if it were an advertise-
ment, for it will be bad for exhibition in the end.
The public resents being "taken in" with pictures
that are supposed to be straight entertainment
if they should be advertisements clothed as enter-
tainment. This matter was thrashed out thoroughly,
and most aggressively, in 1931, when both Para-
mount and Warner Bros, were compelled, because
of hostility on behalf of the newspapers of the
nation, to abandon their sponsored screen adver-
tising business, cancelling contracts worth around
eight million dollars. It was this paper that had
aroused the newspapers to fight the evil, because it
felt that it would ruin the picture business.
Paramount owes you an explanation.
CONVENTION INSTRUCTIONS GIVEN
TO 20th CENTURY-FOX SALESMEN
At the recent convention of the Twentieth
Century-Fox sales forces, the following instruc-
tions were given to the salesmen :
Score charge on all 1939-40 contracts must either
be connected with the contract agreement or added
to the price of the feature.
When making a change in clearance in any local-
ity, the salesman must use his own judgment very
carefully, to be sure that he does not make any
mistakes and thus put the company in a jam. When
making such a change, he must take into considera-
tion what it would cost the company in dollars and
cents.
They should obtain more revenue from "Slave
Ship."
The bookings on the Gaumont-British subjects,
"The Lady Vanishes," "Smiling Along," and
"Climbing High," must be improved.
In selling contracts, a salesman must not specify
the number of pictures in the last group. The con-
tract must read always, "balance," or "remaining."
Four English pictures must be included in every
contract, and the exhibitor is not to have the right
of eliminating them in addition to his right to
eliminate ten per cent of the other features.
Among the instructions was one to the effect
that the salesmen should not high-price a second-
run house when in opposition to a first-run house,
but to deal with the exhibitor fairly.
I am presenting to you this information for what
it might be worth to you.
CONSTRUCTIVE WORK BY THE
BALTIMORE EXHIBITORS
"The finest example of cooperative advertising
in connection with the campaign (the Golden Anni-
versary of the motion picture industry, celebrated
the first week in October) that has come to our
attention," says Mr. Abram F. Myers, in a recent
bulletin of his from Washington, "is the full-page
ad in the Baltmore papers inserted by the Motion
Picture Theatre Owners of Maryland. They have
rearranged material now being supplied to make an
attractive and interesting page. The member thea-
tres are listed in alphabetical order. The ad recites
that it is sponsored by the Maryland Association,
'Affiliated with Allied States Association of Motion
Picture Exhibitors.'
"This is fine group advertising and other organi-
zations would do well to follow this example. If
you are interested, write Herman Blum, National
Treasurer, and he will send you a copy of the ad —
as long as the supply holds out. ..."
Organization-sponsored advertisements, in addi-
tion to arousing the public's interest momentarily to
attend motion pictures, have the effect also of mak-
ing the name of the organization a by-word among
the public, and of commanding its respect. It is a
healthy condition and cannot help benefitting the
members of the organization, for when the or-
ganization espouses a cause a large section of the
public is inclined to be sympathetic toward it.
The different locals should do institutional ad-
vertising more frequently.
Entered m secend-elass matter January 4, 1921, at the post office at New York, New Y«rk, under the act of March 3, 1879.
ON'S
Yearly Subscription Rates: 1270 SIXTH AVENUE Published Weekly by
United States $15.00 R™m 1 SI O Harrison's Reporte, Inc.,
U. S. Insular Possessions. 16.50 ROOm Publisher
Canada 16.50 New York, N. Y •• P. S. HARRISON, Editor
Mexico, Cuba, Spain 16.50 . ,_ , . . _. . _ ' , . _
Great Britain 15.75 A Motion Picture Reviewing Servio* ^i,,,,,,, i„, , m
Australia, New Zealand, Devoted Chiefly to tke In-terestss oi the ExhrWtors « ..Established July 1, 1919
India, Europe, Asia .... 17.50
•>r„ n en™ Its Editorial Policy: No Problem Too Big for Its Editorial Circle 7-4622
ojc a ^opy Columns, if It is to Benefit the Exhibitor.
A REVIEWING SERVICE FREE FROM THE INFLUENCE OF FILM ADVERTISING
SATURDAY, NOVEMBER 4, 1939 No. 44
Vol. XXI
THE ELIMINATION PROBLEM
As I told you a few weeks ago, the elimination right
given you by the producers needs clarification, for it is
difficult for an exhibitor to know how many pictures he
is entitled to eliminate from each group by reason of
the fact that a group does not always consist of a full
unit. There are also other complications, making it
difficult for an exhibitor to know how many pictures he
is entitled to cancel.
Among those to whom I have written for information
has beed Gradwell Sears, of Warner Bros. Grad was
good enough to send me the following schedule of elimi-
nations for those who are entitled to cancel twenty per
cent of their pictures.
Group 1 — Two Pictures: No elimination.
Group 2 — Six Pictures: One elimination.
Group 3 — Twelve Pictures: Two eliminations.
Group 4 — Sixteen Pictures: Four eliminations.
Group 5 — Twelve Pictures: Three eliminations.
The total number of pictures is forty-eight, and the
number of pictures that an exhibitor has the right to
eliminate, in accordance with this schedule, is ten. This
is slightly more than twenty per cent.
If the exhibitor should not take advantage of his
elimination right to cancel a picture from a given
group, he will have no right to cancel it from the next
following group; but he is given the right to cancel all
uncancelled pictures from the last group.
The schedule Mr. Sears has sent me does not cover
the eliminations of those exhibitors who have the right
to eliminate ten per cent of their pictures, but I presume
the schedule that was in force during the NRA code
will prevail — One picture, if the group should consist
of anywhere from five to ten pictures; and none, if it
should consist of only four pictures. If the group should
consist of fifteen pictures, the exhibitor had the right to
eliminate two. I am sure that such will be the practice
in the Warner Bros, organization.
Mr. Sears deserves congratulations for the clarity of
his elimination schedule.
I have not yet received a statement from Bill Rodgers,
of MGM, as to the elimination schedule that he has
adopted. I presume that his elimination offer needs a
deeper study by reason of the fact that to some ex-
hibitors MGM has given the right to eliminate fifteen
per cent of the pictures. This requires the employment
of a mathematician to figure it out.
According to some trade papers, Twentieth Century-
Fox, too, has granted to the exhibitors the right to
cancel ten, fifteen and twenty per cent of their pictures,
but no official announcement has yet been made; there-
fore, this paper is not in a position to state whether this
information is accurate or not. I shall try to verify it.
As a matter of fact, some exhibitors have written to
this office in an effort to find out whether the report to
the effect that Twentieth Century-Fox permits an ex-
hibitor to cancel ten, fifteen or twenty per cent of the
pictures, as the case may be, only from the last, or
lowest, classification and not from each classification
is true or not. If true, they feel that this company's pro-
vision for the elimination of pictures is of no value to
them whatever.
The same trade papers reported that Paramount, too,
has granted to the exhibitors a ten, fifteen and twenty
per cent elimination, but some exhibitors have informed
this paper that the Paramount salesmen are circum-
venting this elimination right by offering to the ex-
hibitors, not the entire product, but shortened by the
number of pictures that the exhibitor would cancel were
he sold the entire product, at the same time charging
them the same price as last year, less an amount of
money equalling the prices of these pictures in the last
group. For instance, if they charged an exhibitor last
season $5,500 for the 55 pictures they sold him, this
season they are selling him only 44 pictures, out of the
55 planned for release, without any elimination, and
are asking for them $5,280, or $220 less, this difference
representing the price of eleven pictures of the lowest
group, eleven being the number of pictures that the
exhibitor would have been entitled to cancel under the
20% cancellation offer. In other words, instead of al-
lowing the exhibitor to eliminate 20% of the pictures,
Paramount is making the elimination for him, but from
the lowest group.
To exhibitors who are in the 10% elimination class,
the Paramount salesmen are offering only 47 pictures,
with no elimination.
The producers are going to use the twenty per cent
elimination "gag" in Washington in an effort to defeat
the Neely Bill in the House of Representatives at the
next session of the present Congress. For this reason,
Allied States Association should begin at once to ac-
quainted the members of the House with this matter.
The producers should not be allowed to convince even
the most innocent House member that the elimination
offer will cure the ills from which the industry is suf-
fernig. The House should be made to realize that it is
necessary that block-booking and blind-selling be out-
lawed before the industry may recover from the disease
from which it is suffering — poor pictures.
Talking again about the trade reforms that some of
the major companies have offered, let me say that there
are other provisions besides elimination provision that
need clarificatoin. For instance, since the distributors
have now promised to refrain from forcing on the ex-
hibtiors either shorts, newsreels, or trailers, will they
accept the cancellation of contracts for such of these
subjects as have already been signed, if an exhibitor
should feel that he signed them only because he felt
that he could not get the features in any other way?
Remember that these provisions, according to the an-
nouncements;.are-" retroactive' with 'all contracts signed
as far back as January 1, this year.
MR. CAPRA'S DOUBLE BLUNDER
In the editorial, "Frank Capra's Lack of Good Taste,"
which appeared f#*¥h&' 'October' 21' issue of Harrison's
Reports, I stated that Capra's "Mr. Smith Goes to Wash-
ington" cast an odious reflection upon the integrity of the
United States Senate by presenting some Senators as being
devoid of honor.
There is another group of people whom the picture
offends, grieviously — the newspaper people, for it presents
some reporters as being devoid of fine principles, and as
"booze hounds."
Private information from Washington, sent to this office
the day following the picture's preview, which almost every
Senator and most members of the House of Representative
attended, indicated that the legislators were deeply incensed
over the insult to the Senate conveyed in the picture ; and so
were the newspaper people, who sponsored the preview
showing. That information has been corroborated by sev-
eral newspaper items, particularly by the one that appeared
in the October 22 issue of the Los Angeles Times. Under
the heading, " 'Mr. Smith' in Washington Stirs Senators —
and How !" an exclusive dispatch to that newspaper from
Washington said :
(Continued on last Pagt)
174
HARRISON'S REPORTS
November 4, 1939
"Roaring '20s'* with James Cagney
(Warner Bros., October 28; 105 mitt.)
Whether picture-patrons will like this picture or not will
depend on how they feel to see in their picture entertain-
ment a reenactment of doings in the afterwar bootlegging
and racketeering days, or Cagney again as the head, of a
racketeer ring. Mark Hcllinger, the author of this story,
tried to build up sympathy for the hero by presenting him
as the victim of afterwar conditions, which gave him the
choice of either entering the illegal traffic to make a living
with, or starving to death. The picture, considering the fact
that the story was written by an experienced writer, lacks
sustained dramatic power. Here and there one is held in
tense suspense, but the suspense is not constant. The chief
reason for the picture's inability to grip the spectator and
hold him in such grip at all times is the hero's characteriza-
tion ; one is not in sympathy with what he docs, even though
he may feel interested in his doings somewhat. There is a
romance, but it is not the hero who gets the girl. This is a
mildly redeeming feature. There are also several thrilling
situations : — -
Cagney returns from the war with the confidence that he
would get his old job at a garage, but is disappointed. Al-
though he tramped the city day after day he is unable to
find employment. Accidentally, he comes upon Gladys
George, who conducted a speakeasy, and is induced by her
to enter the bootlegging business. Selling at first by the
bottle liquor manufactured by somebody else, he eventually
lands to manufacturing his own poison and employing
others to sell it. He employs Jeffrey Lynn, a lawyer, pal in
the trendies in France, to protect him from the clutches of
the law. He meets Priscilla Lane, to whom he was a dream
soldier, and falls in love with her. He induces Gladys to
employ her as a singer, and she makes a success. Because
his liquor was cheap, he could not get into high places. He
calls on Paul Kelly, famous head of a powerful bootleg
ring, and asks for a deal ; but he is refused. Thereupon, he
proceeds to high-jack Kelly's boat. To his surprise, the
head on the boat was Humphrey Bogart, also an ex-soldicr.
Bogart proposes that they become partners. They agree.
In highjacking Kelly's warehouse, Humphrey murders one
of the guards. Cagney is incensed over the murder. Soon
they float into millions. But the stock market collapses and
Cagney, not only goes broke, but also loses his girl — she
fell in love with Jeffrey. Priscilla and Jeffrey, who did not
like the racket and quit, marry. Cagney goes down and
down and eventually goes broke. Four years later Cagney,
while driving a taxi, for a living, gets Priscilla as one of his
fares. She is glad to see him and, when they reach her home,
she shows him her four year old boy. Because Jeffrey had
been appointed to the district attorney's office, Humphrey,
who feared lest Jeffrey reveal what he knew of him, sends
word to Priscilla that he would kill her husband. Priscilla
rushes to Cagney for protection, Cagney is resentful at first,
but he calls on Humphrey just the same. When Humphrey
refuses to promise Jeffrey immunity, 'Cagney shoots and
kills him. Humphrey's henchmen kill Cagney. Gladys
grieves, for she was in love with Cagney. _ ,
Raoul Walsh directed it from a Screen play by Jerry
Wald, Richard Macauley, and Robert Rossen.
Not suitable for children or for Sunday showing. Good
for adults. Class B. Tempo fast.
"Meet Dr. Christian" with Jean Hersholt,
Paul Harvey, Dorothy Lovett, Robert
Baldwin and Enid Bennett
(RKO, released Nov. 17; running time, 70 min.)
A sweet picture, with the hero, a doctor, as a character
whom one cannot help loving. There is human appeal all
the way through, particularly toward the end, where he is
shown saving the life of the little daughter of a man who
almost persecuted him ; it will be hard for one to restrain
his emotions in that part. It would have been much better
for the picture, however, if the "honey" had not been spread
so thick in the first half of the picture, and if it had not
dwelt on so many trivial matters, for these faults weaken
the picture's effectiveness with the adult trade ; they direct
an appeal to children too much. Perhaps the strongly emo-
tional ending may redeem these faults. There is a fairly
charming romance.
The stnry deals with Jean Hersholt, a country but able
doctor, whose one aim in life was to better the community
he was living in. He works toward providing the com-
munity with a modern hospital, but he is balked by Paul
Harvey, a haughty town pillar, who, as mayor of the city,
had in mind improvements on other things, until his own
child is injured in an automobile accident; he then bends,
and is prepared to follow Hcrsholt's lead in everything, in
this manner hoping to undo the injustices that he had done
to him and to express his gratitude for having saved his
child's life. In Harvey's house now reigns peace, which had
been shattered by his unreasonable conduct towards the
doctor, whom the entire family — wife and two children
(Patsy Lee Parsons and Jackie Moran) — loved. Baldwin,
the town pharmacist, is accepted by Dorothy Lovett, Hcr-
sholt's office nurse.
The screen play was written by Harvey Gates, from a
radio idea by Jack Hasty. Bernard Vorhause directed it,
and William Stephens produced it.
Suitable for the whole family — Class A.
"Bad Little Angel" with Virginia Weidler,
Gene Reynolds, Guy Kibbee, Ian Hunter,
Elizabeth Patterson, Reginald Owen,
Henry Hall and Lois Wilson
(MGM, October 27; 72 min.)
Not big but a sweet little picture, the kind that will make
every one who will see it talk about it afterwards. It is the
acting of Virginia Weidler, as well as of Ian Hunter and of
Lois Wilson, that gives it wholesomeness. Virginia is a
sympathetic little character, and brings gulps to one's
throat frequently. It is her faith that makes people see
thugs in a different light.
It is the story of a little orphan who had been taught by
Elizabeth Patterson, who wanted to adopt her, but who
died before the fulfilling of her wish, to look into the Bible
for guidance whenever in trouble. When Elizabeth died
and the miserable old manager of an orphans' home wanted
to take her back, she opens the Bible, closes her eyes, sticks
her finger into it, and strikes the passage where the Lord
had told Joseph to go to Egypt. So to Egypt (New Jersey)
she goes. Accidentally, she is befriended by Ian Hunter, a
newspaper editor. But because Ian was a fearless and
honest editor and would not pull his punches on Guy
Kibbee, a skinflint, he loses his job. Kibbce's paint factory
catches fire and Ian Hunter, who was chief of the town's
volunteer fire department, becomes injured seriously. The
brave Virginia and young Reynolds drag Ian out of the
burning building. Virginia prays to the Lord to spare Ian's
life, and Ian lives. Her prayers also melt the heart of
Kibbee ; he restores Ian to his position.
The plot has been founded on the book by Margaret
Turnbull. Dorothy Yost wrote the screen play. William
Thiele directed the picture, which was produced by Albert
E. Levoy, his first production job, and a good one.
Quality as well as suitability, Class A. Excellent parti-
cularly for theatres that cater to a religious element, no
matter of what denomination.
"Jeepers Creepers" with Roy Rogers,
Maris Wrixon and Leon Weaver
(Republic, October 27 ; running time, 66 min.)
A nice little double-bill picture, suitable chiefly for small
towns, and for neighborhoods in big cities. A note of cheer-
fulness runs through the picture, as a result of the method
by which the outstanding characters in the picture are
shown living. There is in their hearts joyfulness, which is
externalized in song and laughter. There are also a thrilling
forest fire and a pleasant romance. The title has been taken
from the song that was recently fairly popular :—
Young Roy Rogers, sheriff in a hillbilly town, arrests
Thurston Hall, haughty and intolerant coal mine operator,
because he had violated the forest fire law; he had been
fishing in a river nearby with Maris Wrixon, his daughter,
and was in no mood to tolerate interference with his liber-
ties. The sheriff takes him to Leon Weaver, mayor and
judge of the city. He and his daughter are convicted to
spend one day at hard labor. While serving his sentence
digging. Hall discovers that there is plentiful coal in the
country and determines to buy land for the purpose of start-
ing coal operations. But the simple folk love their land
more than Hall's money and will not sell him any of their
land. Hall is incensed and, having learned that the simple
folk had not paid taxes for years, pays the taxes and as-
sumes title to their properties. With the thugs he had hired,
he evicts them from their homes. A forest fire breaks out
and Hall, while speeding to get awav from it, is pinned
under his car, which had overturned. Little Billy Lee, who
was in the hills, discovers Hall and, rushing through the
burning trees at the risk of his life, brings help. Thus
Hall's life is saved. Hall, repentant, promises to undo the
wnng rVis>t he had done to them all. He also blesses the
union of his daughter with the young sheriff.
The story and screen play is by Dorrell and Stuart
McGowan. It was directed by Frank McDonald, and pro-
duced bv Armand Schaefer.
Suitable for every member of the family. Suitability,
Class A.
November 4, 1939
HARRISON'S REPORTS
175
"20,000 Men a Year" with Randolph Scott,
Margaret Lindsay, Robert Shaw
and Preston Foster
(20th Century-Fox, October 27 ; 83 min.)
A very fine melodrama of the air. Pictures of this type
produced heretofore specialized more in thrills than in
emotional appeal. In this picture the specialization is di-
rected more to the emotions than to thrills, without neglect-
ing thrills, for the scenes that show a youngster, who had
not yet received a thorough training in flying, taking off
from a dangerous place guided by the hero as to his control
of the levers is thrilling. The loss of a wheel in the air, and
his subsequent landing the plane without crashing are
thrilling in the extreme. The story revolves around the
government's decision to teach flying to students of col-
leges. It has a considerable number of human twists. The
Grand Canyon of Arizona is shown from every angle. The
story has also a charming romance : —
Randolph Scott, a famous commercial aviator, is sus-
pended for returning to the airport without orders when he
struck fog and was concerned with the safety of the pas-
sengers. He attributed his suspension to the hostility of
Preston Foster, Civil Aeronautics Authority official. He
buys a broken down aviation business for sightseeing air-
trips, but could not make it go. He was about to turn it
back to the creditor bank when the C.A.A. decides to have
young college students trained for pilots. Among the fields
that Foster selects is Randolph's, and persuades the bank
to finance him without Randolph's knowing that he had
suggested it. Among the college students that Randolph
was training was George Ernest, Foster's young brother.
At the first solo flight George so misbehaves that Randolph
reprimands him. George then confesses to Randolph that
he could not get rid of his fear. Thereupon Randolph en-
courages the boy and promises to help him get rid of it.
Quietly every morning the two were taking off for training.
On one of the flights, while they were over a canyon, the
boy freezes the levers and Randolph could not control the
plane ; he then bales out. Randolph lands safely with his
plane somewhat damaged, takes another plane and, with
Robert Shaw, flies over the spot to locate George. They
finally locate him with his parachute caught in a tree over-
looking a precipice, and with him hanging from it uncon-
scious. Randolph makes a dangerous landing but, in res-
cuing George, is injured seriously. Robert pleads with
Randolph to let him fly the plane. Under Randolph's in-
structions, he flies it, but when they are over the airport
they are warned that one of the wheels had dropped off.
Instructed by Randolph, Robert eventually lands the plane
on the one wheel without crashing. Margaret Lindsay
(Robert's sister) then consents to her brother's becoming
an aviator, and to her marrying Randolph.
Lieutenant Frank Wead wrote the story, and Lou Bres-
low and Owen Francis the screen play. Alfred E. Green
directed it most skillfully. Sol Wurtzel produced it.
Class A.
"Beware of Spooks" with Joe E. Brown
and Mary Carlisle
(Columbia, October 24 ; 68 min.)
Where Joe F. Brown is still popular, "Beware of
Spooks" should be considered fairly good entertainment,
but the story is nothing to brag about. Most of the comedy
occurs in the "Spooky House" of a summer resort, where
the hero, in chasing to capture a criminal, goes down slides,
mounts stairways the steps of which flatten before he gets
a chance to go over the last step, walks over shaking
rope bridges, is hit on the face by arms that shoot out from
the wall on the slight touch of a lever, and the like. But it
is mostly children who will enjoy these doings.
The hero is again presented as a "sap." This time he is a
con, but he loses his badge because of his letting a notorious
criminal get away and of other blunders. While out to cap-
ture that criminal, he unwittingly assisted another criminal
in robbing a bank. For this he is expelled from the police
force. He eventually succeeds in capturing the notorious
criminal ; he performed the brave deed while he was visit-
ing a summer resort with his wife. For this, he is rein-
stated on the force, as a Sargcant.
The story is by Richard Flourney; the screen play, by
the author himself, and by Albert Duffy, and Brian Mar-
low. It was directed by Edward Sedgwick, and produced by
Robert Sparks.
Suitability, Class A. Title is BEWARE, SPOOKS!
"Main Street Lawyer" with Edward Ellis,
Anita Louise, Robert Baldwin
and Harold Huber
(Republic, Nov. 10; running time, 7lz/2 min.)
Very good. It is mainly a court-room drama, unfolding
in a country town, and dealing with" the trial for murder of
an innocent girl. There is human appeal in the actions of
some of the characters. The action unfolds at a fairly fast
pace. The presence of Edward Ellis, as an easy-going dis-
trict attorney with a tender heart, endows the picture with a
certain charm. The story has twists that are logical and
interesting. The romance is charming : —
Edward Ellis felt guilty because he, as district attorney,
had sent to the penitentiary a woman who was innocent, as
was proved after her death. To make up for that wrong, he
rears Anita Louise, her daughter, born in the prison, as his
own daughter, and loved her as such. Harold Huber, a
racketeer, was out on bail on a bribery charge and, having
learned of Ellis' secret, succeeds in having a change of
venue of his case, so that he might be tried in the county
seat where Ellis was district attorney. On the day the trial
was to begin, Huber calls on Ellis and threatens to expose
his secret unless he set him free. Ellis so conducts the trial
that Huber is freed. But he had not given up the idea of
prosecuting Huber. Having manoeuvered his own recalling
and the election of Robert Baldwin, his daughter's fiance,
as district attorney, he reveals to Baldwin his plan of hav-
ing Huber's case reopened, delivering to him the necessary
evidence of Hubr's guilt. Huber ensnares Willard Robert-
son, Baldwin's uncle, in a business deal, with the object of
receiving help in his case. When Robertson refuses to in-
fluence Baldwin to drop the case, Huber murders him.
After Huber's flight from Robertson's office, Anita, who
had learned that Baldwin was to be there and had gone to
become reconciled with him, enters. When she is found
there, she is accused of the murder. Defense of Anita seems
hopeless at first, but eventually Ellis brings out the proof
of Huber's guilt.
The story is by Harry Hamilton ; the screen play, by
Joseph Krumgold. Dudley Murphy directed it and Robert
North produced it. Margaret Hamilton, Henry Kolker,
Beverly Roberts, and Wallis Clark, too, are in the cast.
Suitability, Class A.
"Allegheny Uprising" with Claire Trevor
and John Wayne
(RKO, released Oct. 27 ; running time, 80 min.)
Whether this country's picture-goers will accept as good
entertainment this story, which unfolds sixteen years before
the Revolution (1759), will not be known until the picture
plays a few theatres. As to quality, it is fairly gripping. It
would have been much more gripping, however, had the
action unfolded less with dialogue and more with photog-
raphy. The talk retards the movement considerably. The
picture is very ambitious, having been produced on a pretty
large scale. John Wayne is not the most romantic hero the
producer could have selected ; nor is Claire Trevor the best
heroine ; she fits best in society stories — she is not quite
convincing in stories where the heroine must appear hardy
and considerably toughened by the struggle for existence.
Wilfrid Lawson, as the whisky-drinking, recklessly acting,
friend of the hero, does the best work ; RKO should put
him into more pictures, and give him parts that would do
greater justice to his talents. There is a romance between
Wayne and Claire : —
The story deals mainly with the efforts of the settlers of a
Pennsylvania valley to persuade Governor Penn to forbid
the trading of whites with the Indians, because among the
articles traded was whiskey, guns and ammunition. Whis-
key drove the Indians almost crazy, causing them to destroy
the homes of the settlers ; it deals also with the stupidity
of a British Captain, a person who cared more for forms
than for substance. Bent upon making the settlers obey the
military edicts, the Captain is unwilling to cooperate with
the settlers to the end that the illicit trade with the Red
Skins by Donlevy be stopped. As a result, the settlers take
matters into their own hands. They send to the Governor
proof of Donlevy's guilt. In the end. the Governor sends to
the fort his commanding General, who relieves the Captain
of his command and frees his prisoners.
P. J. Woldson, the producer, wrote the screen play.
William A. Seitcr directed the picture. George Sanders and
Robert Barrat arc in the cast.
Children should enjoy the lighting scenes. Suitability,
Class A.
176
HARRISON'S REPORTS
November 4, 1939
"The United States Senate, which believes itself to have
been maligned by the motion picture industry in a current
production, is preparing to strike back at Hollywood.
"It is believed that the film moguls are to be wounded
where it hurts the most — in the pocketbook. If the exprcs-
sions of opinion among Senators in the last few days are to
be credited, Senate Bill 280, making compulsory hlock-
b ioking of films illegal, will become a law early in the next
session. . . .
' The bill passed the Senate last July 17, and it is now
pending before the Committee on Interstate and Foreign
Commerce in the House. There it might have remained
throughout the next session because of pressure from the
motion-picture lobby, but something happened last Thurs-
day night in Washington.
"That something was the world premiere here of a motion
picture entitled 'Mr. Smith Goes to Washington,' produced
by Director Frank Capra of Columbia Pictures Corp.
"Every Senator ami Representative in the capital was
invited to be present and most of the remainder of official
Washington was there, too. The National Press Club has
been lured into sponsoring the affair — to its subsequent
regret — and 4000 persons attended the presentation in Con-
titutional Hall. There were searchlights, radio broadcasters,
countless cameramen and other frills. Columbia congratu-
lated itself on having put over a neat publicity stunt. ..."
After saying that the Senators were writhing in their
seats because of the scenes that showed the Senate as
"smugly acquiescent in the perpetration of the fraud" while
the political boss worked together with certain Senators to
mulct the voters of an unnamed state, the 1 imes corre-
spondent continued :
"Nor was Capras cynical approach to the political scene
confined to the Senate. The picture followed the Hollywood
tradition in presenting the press in the person of a consist-
ently stewed reporter.
"Resentment in Congress was high the following day.
The indignation might have produced nothing but violent
conversation if some Legislator had not remembered the
antiblock-booking bill. Very quietly in the last few days
several Senators have organized to put that measure over
by using their influence with the House.
"The bill, which Hollywood protests will work havoc
with the industry's profits, is aimed at the present practice
under which the exhibitors arc required to lease all of an
offered group of films in order to obtain any desired film in
the group. It would also make illegal the practice known
as blind selling under which films are leased without the
exhibitor having an opportunity to ascertain their content."
When in 1931 "Five Star Final," in which a newspaper
editor was presented as a heartless person, bent upon
printing the news regardless of what tragedy he might
bring to people he wrote about, made a big success, there
was an epidemic of pictures based on newspaper yarns in
which either an editor or a reporter was presented as a
scoundrel. The evil became so bad that newspaper people
made strong representations to the producers against the
practice. If I am not mistaken, the late Mr. Marlen Pew,
then editor-in-chief of Editor and Publisher, protested to
Mr. Will H. Hays, head of the motion picture producer
and distributor organization, exacting from him a promise
that orders would be sent to the studios to cease presenting
the newspaper profession in a bad light. Harrison's Re-
ports took a prominent part in the campaign against the
evil practice by inducing the nation's dailies to join it in
prevailing upon Mr. Zanuck, at that time producing for
United Artists, to stop the production of "Miss Lonely-
hearts," a book that presented a newspaper man as a de-
generate person. Mr. Zanuck assured Mr. Bliss, of the
Gazette, Jerseyville, Wisconsin, and other publishers, that
it was not his intention to present the newspaper people in
a bad light, and that he would not do so in any of his pic-
tures. And the book was abandoned, even though the title
was retained.
For a while, the producers stopped making villains out of
newspaper people, cither publishers, or editors, or reporters,
but in the last two years there has been a tendency to revert
to type. Lately there have been several pictures that have
presented newspaper people as scoundrels, but no picture
has gone so far as has Frank Capra's "Mr. Smith Goes to
Washington."
Even if Mr. Capra had not gone so far as the other pro-
ducers, the slander to the newspaper profession would still
have been more damaging, because of the prominence he and
his pictures enjoy. A Frank Capra picture is shown in a
much larger number of theatres than is the average picture
based on a newspaper yarn, and is therefore seen by many
more millions of people. For this, if for no other, reason Mr.
Frank Capra should have been very much more careful
as to what he puts into his pictures, particularly when it
touches upon American institutions or upon prominent
professions. Like other producers, Mr. Capra is enjoined
from maligning foreign institutions or professions, because
the foreign governments have repeatedly protested against
anything that touches them. Don't you think, then, that
Mr. Capra, and every other producer, for that matter,
should show equal respect towards the feelings of people
of ibis nation?
MISLEADING
"A system of national arbitration," says the Minne-
apolis Amusements, "is in prospect in this industry, if
the government gives its okeh to reestablishment of
arbitration outlawed by the Thacher decision of 1929.
"There isn't much discussion of reported plans to
reestablish arbitration, but distribution chiefs hope to
resurrect that much, at least, of the defunct trade prac-
tice code.
"Just how the government will react to proposed re-
cstablishinent of arbitration is uncertain, but industry
leaders forecast no objection to a setup based on a
voluntary settlement of industry disputes.
"Michigan's Allied unit recently demanded some
form of arbitration be installed as a means of settling
industry disputes."
Evidently Amusements ran out of material and was
compelled to print such an item, for there is not an iota
of correctness in the supposed information that it
conveys.
To begin with, the government has already expressed
its views as to how it feels toward an arbitration set up
engineered by the producers; the letter of Mr. Thurman
Arnold, Assistant Attorney General, in charge of the
government's case against the major companies, to the
distributors' lawyers, has plainly stated those views.
In 1929, Judge Thacher did not outlaw arbitration in
the motion picture industry, but merely the system that
was then employed in it; as every one of you who was
an exhibitor at that time no doubt remembers, that
arbitration system was compulsory, supervised and
controlled by the Hays association, with the arbitration
boards used as collection agencies, even for such sums
as sixty cents. It is compulsoriness that the courts con-
demned, and not arbitration itself.
In regard to the demand by the Allied unit of Michi-
gan for some form of arbitration, let me say that no
exhibitor is prevented from having an arbitration clause
in his contract — the producers are more than eager to
have him request it; but it must be the exhibitor who
will request it, without any compulsion on the part of
the distributor. Arbitration imposed in any other way
will not stand. So it is not necessary for Michigan Allied
to worry about arbitration. Let national Allied do the
worrying.
MOVING THE STUDIOS EAST
Two weeks ago Mr. LaGuardia, mayor of this city,
requested that the producers move their studios to New
York, where there are as many facilities, he said, as
there are in California. He based his demand on the fact
that nowadays most outdoor shots are photographed
in the studios, by the processing method. Consequently,
the California climate is of no great advantage.
It seems as if Mr. LaGtiardia's wish is to be fulfilled
soon, if what the newspapers say about the chances of
the "Ham and Eggs" system is true; they say that it
will be passed by the California voters next week. They
say also that the tax payers will be crushed under the
burden of this system. If so, then the producers will not
require much coaxing to come east; they will do so
voluntarily. But if the Mayor wants to offer them
facilities, so much the better.
Perhaps moving the studios east will not do any harm
to the industry; on the contrary, it might do much good
— it might reduce the cost of production considerably,
for when the purse is too far away from the man who
fills it the contents arc not, as a rule, spent so wisely.
Entered as seeond-rlsjes matter January 4, 1921, at the post office at New York, New York, under th« aet of Martii 8, 1879.
Yearly Subscription Rates:
United States $15.00
U. S. Insular Possessions. 16.50
Canada 16.50
Mexico, Cuba, Spain 16.50
Great Britain 15.75
Australia, New Zealand,
India, Europe, Asia .... 17.50
35c a Copy
1270 SIXTH AVENUE
Room 1812
New York, N. Y.
A Motion Picture Reviewing Service
Devoted Chiefly to the Interests of the Exhibitors
Its Editorial Policy: No Problem Too Big for Its Editorial
Coiumns, if It is to Benefit the Exhibitor.
HP
. Published Weakly by
Harrison's Reports, Inc.,
Publisher
P. S. HARRISON, Editor
Established July 1, 1919
Circle 7-46S2
A REVIEWING SERVICE FREE FROM THE INFLUENCE OF FILM ADVERTISING
Vol. XXI SATURDAY, NOVEMBER 11, 1939 No. 45
IN DEFENSE OF THE U. S. SENATE
Some trade paper editors have taken me to task for
having expressed resentment at the reflection cast on the
United States Congress by the theme of the Capra-
Columbia picture, "Mr. Smith Goes to Washington," im-
plying that my fight against the theme of this picture is a
fight against freedom of expression.
Under "Notes to You From Red," Maurice ("Red")
Kann, editor of Box Office, said partly the following in the
October 28 issue of that paper :
"He [Capra] did not encompass the entire Senate body at
all, but for dramatic and narrative purposes centered the
corruption angle on one man who recants at the close by
dousing himself with a super-generous effort at whitewash.
And successfully, too.
"We have been trying to figure out why Pete is excited
to a point where he calls upon Allied to pick on the nice and
honest Mr. Smith as a catapult to launch renewed attempts
at enactment of the Neely Bill. Little being immune from
Hollywood story ingenuity, why should senatorial immun-
ity go untouched? Why gloss over crookedness if it should
be lodged in high places like the senate? That very rarefied
atmosphere suggests itself to us as a more urgent reason
for doing it. Besides, the effect abroad will not be as catas-
trophic as Harrison fears it; every nation has its political
foibles and all nations are suspect in the functioning of
some phases of their political parties.
"Viewpoints such as this of Harrison are shortsighted
and potentially even more serious since they evidence a
from-within-the-industry desire to further muffle a method
of expression which requires more, not less, freedom. Pre-
sumably the country may laugh at stock jokes about sena-
tors and congressmen, but Hollywood may not touch them.
" 'Mr. Smith,' actually, is one of the finest expressions of
faith in country that the studios have launched. Those who
will insist it is the outstanding instance will get no violent
argument from us. Capra's method of obtaining results
merely varies from the rest. By pounding ateay at the ei'ils,
of which any individual allegedly alert must be aware, he
forcefully driz'cs home the good." (Editor's Note: Italics
not in the original.)
The sum-substance of Kann's editorial seems to be an
assertion that "Mr. Smith Goes to Washington" does not
cast any reflection on the integrity of the United States
Senate, and that Mr. Capra centered the "corruption angle"
only on one Senator so as to attain dramatic effects. And
after all, he says, this Senator recants in the end. Near the
close of the editorial he implies that pictures with a theme
su h as that of "Mr. Smith Goes to Washington," by
pounding away at the evil, the existence of which in the
Senate must be known to every person "allegedly alert,"
drive home the good. In other words, Mr. Kann, as an
"allegedly alert" person, knows that corruption exists in
the Senate, and that Mr. Capra's picture will drive it out
by dealing with it. A pretty daring assertion!
In another part of his editorial, Mr. Kann says that view-
points such as I have expressed about Capra's picture, com-
ing from within the industry, are dangerous in that they
lead the outsiders to believe that there is in the motion
picture industry an element that desires the muffling of a
medium of expression that requires more, rather than less,
freedom.
It is manifest that Red Kann has missed the point alto-
gether: the fight against the theme of Capra's latest picture
is a fight, not against freedom of expression, but against the
dramatic license to color the United States Senate as being
controlled by crooked politicians. Let us look at the facts :
What is the central idea? In other words, what stands
out most in your mind after seeing the picture? Is it a fight
for the freedom of expression? No! Is it a fight for the
freedom of the press? No! Is it a fight for the freedom of
religious worship? No! — none of these. It is primarily the
fight of a naive but honest Senator against the control of
the U. S. Senate by some dishonest Senators, owned body
and soul by a crooked politician, who, failing in his efforts
to gag the hero, tries to have him expelled from the Senate
on false charges, supported by forged evidence. And the
reason for all this was the hero's refusal to withdraw a
bill that would have prevented the crooked gang from
making millions in graft. That is what stands out most !
It is true that, in this fight, the hero had in mind also the
preservation of the people's liberties, for he felt that, if this
crooked gang were to succeed in keeping control of our
lawmaking body, the liberties of the people would be en-
dangered. But nowhere in the fight is freedom of expres-
sion a direct issue.
But even if freedom of expression were a direct issue,
Mr. Capra had no right to color the entire Congress as
dishonest for the mere purpose of illustrating his point : the
end does not justify the means.
It should be noted that, though justice triumphs in the
end, the result is brought about not wholly by the efforts of
the hero ; he had just about lost his fight and was lying pros-
trate on the floor of the Senate Chamber when the guilty
Senator rushes in and makes a melodramatic confession.
Let us not confuse the issue ! The objection is, not against
Mr. Capra's dramatic work, but against its theme, because
it may plant in the minds of those who will see the picture
the idea that the U. S. Congress is controlled by crooked
politicians. And that is exactly what it does : As a back-
ground of his story, Mr. Capra establishes the glorious
heritage of the country, from the Declaration of Indepen-
dence, through Lincoln's Gettysburg address, to the monu-
ment of the Unknown Soldier. And, into that setting, he
puts the Congress, not of some remote period, but of today
— the present Congress: — The identification is made by a
reference to the "My Day" column, written by Mrs.
Roosevelt, wife of the President of the United States. This
Congress, he paints as being controlled by crooked politi-
cians, with whom many of its members share graft.
Such painting is accomplished by the showing of a plot
in which at least three members of the House of Represen-
tatives and one member of the Senate, colleague of the hero,
take part. This Senator, in the Senate for thirty consecu-
tive years, is shown as taking orders from the crooked
politician. He so admits to the hero in one scene; he inti-
mates to him that, when he first went to the Senate, he,
too, was inspired with high ideals, but that he had to sacri-
fice them to expediency, leading those who will see the
picture to form the opinion that a Senator can render the
voters of his state a service only by compromising his
principles. Thus the beauty of democratic freedom is ovcr-
shadovVed by the sordidness of sanctioned corruption.
Mr. Capra's defenders may assert that his picture con-
veys no such impression. If so, let us put it to a test : Why
does a first-rank screen player, a player whose services are
at a premium, refuse to take a viflanous part in a picture?
Isn't it because of his belief that his popularity would he
killed if he appeared in such a role even in one picture?
Those who would sec him in such a part would associate
his personality with the despicable acts of the villain they
had seen him impersonate, and it would take the heroic role
of many another picture to disabuse their minds.
Again, why did the Turkish Government protest against
the production of the Fran/ Werfel novel, "Musa Dagh?"
Was it because the Turkish Government was opposed to
free speech in the United States? Of course not! It was
because the picture would have reflected on the honor of
the Turkish nation. And why did the Mexican Government
(Continued on last page)
178
HARRISON'S REPORTS
November 11, 1939
"On Dress Parade" with the
" 'Dead End' Kids"
( Warner Bros., Nov. 18 ; 62 mitt.)
A pretty good program picture with the ac-
tion unfolding in a military academy. It seems
as if the producers, realizing that they cannot
keep the "Dead End" youngsters mischievous
all the time, have decided to reform them hy
improving their character, manners and con-
duct. This time, they have taken all except one
— Leo Gorcey — to a military academy. Leo had
been reared by his widowed mother in the
slums for lack of means to rear him in a better
environment. But Leo's father (Don Douglas),
before his death, asks John Litel, a fellow-ofhcer
of the United States Army, to find his son and
to look after him. Litel finds Leo but the boy
indicates that he did not want to join the mili-
tary academy. As a result, Leo, with the com-
mendable connivance of a priest, is framed and
given the choice of a military academy career or
that of a reformatory. Leo chooses the former.
At the academy, Leo is just as belligerent and
defiant as he was in the slums until the good
example of his classmates and the general en-
vironment work a change in him. The crisis that
had brought about the change was the serious
injury to one of his roommates as a result of his
stubbornness and belligerency. He is deeply
moved by the crippling of his roommate, who
had fallen out of the window to the pavement
below.
During a fire, Leo, at the risk of his life, saves
the life of a classmate, being burned badly in
the act. For this, he wins the praise of all the
officers and of every student. "Coventry" is then
lifted and he is taken by every student into his
heart, particularly by his roommates. He is
joyful when he sees his roommate completely
recovered.
There is much human interest in the story.
Some of the situations are supercharged with
emotion. The youthfulness of the actors and
their exemplary conduct help the picture.
The story is by Tom Reed ; the direction, by
AVilliam Clemens. Bryan Foy produced it.
Frankie Thomas is included in the cast.
Suitability, Class A. .
"Kid Nightingale" with John Payne
and Jane Wyman
(Warner Bros., Nov. 4; 56^ win.)
A fairly good picture for a double bill. There
is some comedy, a few mildly thrilling scenes,
and a little singing. Mr. Payne is a good actor,
and one who should prove an attraction for the
feminine trade, but he deserves a better story
than this. Some of the comedy is contributed
by Ed Brophy, and some by Harry Burns. Miss
Wyman is winsome. The romance is fairly
charming : —
In his tour around the country looking for
prize-fighting talent for Ed Brophy, much-
promising-but-never-delivering Harry Burns
reaches Los Angeles. There he comes upon
John Payne, a singing waiter working in a
cabaret. When John punches in the faces two
drunkards because they interfered with his sing-
ing, Burns becomes so impressed with his pugi-
listic powers that he induces him to go to New
York with him. In New York, he matches John
against a well-known heavyweight in a short
exhioition fight in the gymnasium so as to im-
press Brophy, but John makes so poor a show-
ing that Brophy leaves before the exhibition is
over. Walter Catlett, a has-been fight manager,
was present and, seeing possibilities in John's
sex appeal to women, makes a deal with Burns
to stage exhibition fights around the country,
at the end of each exhibition to have John sing
a "victory" song. The idea works well and soon
they make plentiful money, and John wins fame
as a pugilist. In time they return to New York.
In New York, John wins every bout. But Jane
Wyman, the girl John had met on his first trip
to New York and fallen in love with, insists that
he give up prizefighting and study operatic
singing. Burns and Catlett, in order to prevent
him from throwing down the big match they
had arranged for him, promise to engage the
famous teacher he wanted to give him vocal
lessons in the meantime. But instead of engag-
ing the teacher, they engage a wrestler to im-
personate the teacher. John is unaware of the
deception but Jane exposes it while John was
fighting in the ring. John eventually gives up
prizefighting to follow his musical inclinations.
i he story is by Lee Katz ; the screen play, by
Charles Belden and Raymond Schrock. George
Amy directed it and Bryan Foy produced it.
Suitability, Class A.
"Heaven with a Barbed Wire Fence"
with Jean Rogers, Raymond Walburn,
Glen Ford and Nicholas Conte
(20th Century-Fox, Nov. 3 ; time, 62 min.)
It is not good even for a triple bill, let alone
for a double bill. The Twentieth Century-Fox
executives should feel ashamed of themselves to
produce a picture of this kind. Have they pro-
duced it for the purpose of getting around the
twenty percent cancellation clause? The story
is far-fetched and illogical.
It is the story of three persons, Glen Ford,
Nicholas Conte, and Jean Rogers, who meet
in the car of a freight train as knights of the
road. Nicholas had an itch to travel; Glen had,
by scrimping and saving, bought a ranch in
Arizona and was going there, and Jean, suppos-
edly a Spanish girl who had entered the coun-
try illegally, was going to California to find an
uncle. At a hobo camp, they meet philosophical
Raymond Walburn, and he joins them when all
three beat up a hobo who had insulted Jean.
Somewhere in the west, Nicholas is shot in the
leg by a farmer for stealing food, and his pals
take him to a hospital, where his leg is ampu-
tated. Raymond finds Marjorie Rambeau, an
old flame, who was conducting a saloon, and
decides to remain with her. Glen is compelled
to marry Jean to save her from being arrested
by the sheriff and sent to Washington for de-
portation, but she leaves him immediately after
their marriage. Glen goes to his ranch and finds
that it grew only cactus ; but because he loved
Jean he decides to remain and make something
out of it. He is finally joined by Jean.
Dalton Trumbo wrote the story and collabo-
rated with Leonard Hoffman and Ben Grauman
Kohn on the screen play. Ricardo Cortez di-
rected it, and Sol Wurtzel produced it.
You should put this one in the brine.
November 11, 1939
"Drums Along the Mohawk" with Claudette
Colbert and Henry Fonda
(20th Century-Fox, Nov. 10; 103 min.)
The first part of this picture is considera-
bly slow, and Miss Colbert is considerably
"screamy" ; she is in hysterics almost all the
time, and this is considerably annoying. Evi-
dently the producers characterized her so for
the purpose of realism'; but no necessity for so
much realism existed, particularly when there is
danger of predisposing the spectator against
her for it. The picture has been photographed
in natural color. This makes the outdoor scen-
ery extremely beautiful — there are some shots
in it that awe those who love beautiful scenery ;
but the faces of the characters still appear un-
pleasantly coppery. The story unfolds in the
revolutionary days, and naturally there is fight-
ing. But not so much as one expects : one of the
fierce battles is only related, by Henry Fonda ;
it is not shown in action. The best part of the
picture is in the last two reels, where there is
action, as a result of fighting, and suspense, as
a result of the fact that the lives of the sympa-
thetic characters are in danger. The picture
closes with revolutionary soldiers coming to
the rescue of the settlers, whom the Indians,
friendly to the English, had surrounded, and
many of whom they had killed. The sight of the
American flag, which the settlers had seen for
the first time, makes them burst out in cheers.
And this sort of sentiment was taken up by the
audience at the Roxy.
The plot has been founded on the Walter D.
Edmonds best seller. John Ford directed it and
Raymond Griffith produced it. Prominent in the
supporting cast are, Edna May Oliver, Eddie
Collins, John Carradine, Doris Bowdon, Jessie
Ralph, Arthur Shields, Robert Lowery, and
Roger Imhof. Suitability, Class A.
"Too Busy to Work" a Jones Family Series
(20th Century-Fox, Nov. 17 ; time, 65 min.)
One of the weakest pictures of the Jones
Family series. The action keeps unfolding at a
fairly fast pace, well enough, but there is very
little human interest, and the acts of the char-
acters are not noteworthy. On the contrary, the
father is presented as a sort of sap. He is the
little town's mayor, who is busy almost every
minute of his long day attending different func-
tions, but he devotes little time to his drug
store, with the result that his business goes to
pieces, while those who "egged him on" to carry
on the campaign for funds for the purpose of
erecting a hospital were closing lucrative con-
tracts. His patient wife eventually loses her
patience ; in order to teach him a lesson, she,
too, begins attending different fuctions, even
taking part in an amateur play, forgetting cook-
ing as well as looking after the needs of every
one in the house, until the husband begins com-
plaining. Everytbing, however, is adjusted in
the end : the husband stops looking after the
business of everybody and decides to look after
his own business for once ; and his wife does the
same thing. Happiness is once again established
in the household.
The screen play is by Robert Ellis, Helen
Logan, and Stanley Rauh. Tt was directed by
Otto Brower, with John Stone as the producer.
Suitability, Class A.
179
"Little Accident" with Baby Sandy,
Hugh Herbert, Florence Rice
and Richard Carlson
(Universal, Oct. 27 ; time, 64 min.)
A nice little program picture, with Baby
Sandy contributing most of the comedy, and
with Hugh Herbert doing his share of the com-
edy work. Baby Sandy is as "cute" as ever.
There is some human interest, too, and a fairly
charming love affair.
All the complications arise when Ernest
Truex leaves his fifteen-month-old baby daugh-
ter (Baby Sandy) in the office of Hugh Herbert,
who, under a woman's name, was writing a
syndicated column. In trying to save his job
for some silly advice to mothers he had given in
his column, he states to his employer that Sandy
was his grandchild. While taking Sandy to his
home, accidentally he meets Richard Carlson,
and is accompanied by him to his home. There
Richard becomes acquainted with Florence
Rice, Herbert's daughter. Feeling that it would
be humiliating to her to have the baby around
the house in that people would think that it was
hers, she, helped by Richard, leaves the baby on
a rich man's doorstep. But Herbert's boss plans
a baby contest and wants Sandy to win, and
Florence and Richard must bring the baby back.
They do bring her back, and the baby wins the
contest. Truex again appears on the scene and a
wealthy girl, who hoped to marry Richard, tries
to make trouble. But Richard spoils her plans.
The baby slides down the laundry slide and
lands in a laundry basket. She is carried away
to the laundry and is about to be dumped into
the washing machine along with the washing
when Richard, Florence, Truex and Hugh reach
the building in time to save the baby. Every-
thing is ironed out, and Florence, who at first
objected to marrying Richard, because he was
rich and she only a model, agrees to marry him
so as to keep Sandy.
The screen play is by Paul Yawitz and Eve
Greene. It was directed by Charles Lamont.
Suitability, Class A.
THE CORRECT RELEASE DATES OF
THE MGM NEWSWEEKLY
Through an oversight, the release dates of the Metro
Newsweekly were printed wrong in the last Index. The
following arc the correct New York City release dates of
this weekly :
202 Thursday Sept. 21 203 Tuesday Sept. 26
204 Thursday Sept. 28 205 Tuesday Oct. 3
206 Thursday Oct. 5 207 Tuesday Oct. 10
208 Thursday Oct. 12 209 Tuesday Oct. 17
210 Thursday Oct. 19 211 Tuesday Oct. 24
212 Thursday Oct. 26 213 Tuesday Oct. 31
214 Thursday Nov. 2 215 Tuesday Nov. 7
216 Thursday Nov. 9 217 Tuesday Nov. 14
The complete Index will be published again next week.
"TOO MANY HUSBANDS" REPLACING
COLUMBIA'S "ARIZONA"
Columbia has announced that Somerset Maugham's
play, "Too Many Husbands" will replace "Arizona,"
production of which has been abandoned, because of the
disruption of the European market as a result of the
declaration of war.
What provisions has Columbia made for readjusting
the contracts of all those exhibitors who bought its
pictures on the strength of the Columbia salesmen's
representations that "Arizona" would be produced as
an outstanding attraction ? Perhaps the exhibitors have
some rights in such a matter!
HARRISON'S REPORTS
180
HARRISON'S REPORTS
November 11, 1939
protest to the producers several years ago against the prac-
tice of showing the villain in almost every western picture
as being a Mexican? Did the Mexican Government make
that proiest because it was opposed to free speech in this
country ? Perhaps it was because the Mexican Government
did not appicciate the honor the villainous roles conferred
upon the Mexican nationals !
Production of "Musa Dagh" was, of course, abandoned ;
and so was the practice ol making villains of Mexicans.
But some American producers and Red Kann see no objec-
tion to making villains out of the nation's lawmakers, be-
cause, they say, that is done only for dramatic purposes.
Again ! Suppose this picture had been produced in Ger-
many! What would the defenders of this picture's theme
say? Suppose it had been produced, not in Germany, not
even in Russia, but in England ! I venture to say that they
would assert that England's purpose was to malign the
United States of America and to humiliate it before the
world, and the friendship that now binds the American and
the British peoples might be torn asunder. I am sure that
such is the effect that "Mr. Smith Goes to Washington"
would have on them ; for that matter on all the American
people, if it had been produced abroad. And yet the picture
is defended by Americans, just because it has been pro-
duced in America, and by Americans, regardless of the
fart that it maligns our national lawmaking body. And
their defense is based on the flimsy excuse, not borne out
by the facts, that it is an exponent of free speech and of
free thought.
Red Kann says that an evil, if it should exist even in so
high a place as the United States Senate, may be corrected
only by pounding away at it with fearlessness and freedom.
As a matter of fact, he again implies that such an evil does
exist in that body, without pointing out the particular spots
where it exists.
Kann may protest that I am giving his words a meaning
that he did not intend them to convey, but that is how I
interpret them. How else can one interpret his statement,
"By pounding away at the evils, of which any individual
allegedly alert must be aware, he forcefully drives home
the good"?
Even if we assumed, for the sake of illustration, that
some congressmen are not all that they should be, how about
the great number of them who are honest and true ? Don't
these deserve to be spared the implication that they are dis-
honest? By not pointing out the guilty ones, Kann casts a
reflection upon the integrity of all alike.
"Presumably," Kann says, "the country may laugh at
the stock jokes about senators and congressmen, but Holly-
wood may not tou:h them." Red Kann seems not to differ-
entiate between a subject that is treated humorously, as in
the case with "Of Thee I Sing," the stage comedy to which
he undoubtedly refers, and a subject that is treated seri-
ously, as is the case with "Mr. Smith Goes to Washington.^
Every one of those who was punned in "Of Thee I Sing"
had a good laugh, thus demonstrating that Americans have
a sense of humor second to the people of no other nation.
The matter with the Frank Capra picture, however, differs,
for its story is treated in a serious vein. The dishonest
Senator's private confession to the hero, for example, is no
act for laughter ; he admits to the hero that, in order for
him to be able to remain in the Senate, he had to compro-
mise his principles, by subjugating himself to the crooked
politician. Nor is an act for laughter his public confession;
bavins eventually felt guilty in his conscience for the
despicable part that he had played in the besmirching of the
hero's character, this Senator tries to expiate his sin by
an attempt to take his own life and when he fails, he enters
the Senate Chamber where, to every one's hearing, he
admits his guilt.
Nor is the showing of the gagging of the press in the
hero's state a matter for comedy : the corrupter of senators
is shown using his wealth and influence to prevent the news-
papers there from printing the truth about the hero, feed-
ing the public lies instead ; and when a group of young boy
grangers print a paper of their own, in a determination to
let the people know the truth about the hero, their idol,
this crooked politician hires thugs for the purpose of pre-
venting its circulation, ordering them to run down the boys'
trucks, an act which they carry out to the letter, endanger-
ing the life of many a youngster.
Red Kann says: "Besides, the effect abroad will not be
as catastrophic as Harrison fears it. ..." I am just trying
to picture in my mind the glee that Paul Goebbels,
the German propaganda minister, will feel when he first
sees "Mr. Smith Goes to Washington." He will, no doubt,
want every man, woman and child in Germany to see it.
Will that do honor to the United States Senate?
PICTURES IN PRODUCTION NOW
IN HOLLYWOOD
The following information might be of interest to every
exhibitor ; it concerns pictures that are in production, some
of them about to be completed.
Columbia
"HIS GIRL FRIDAY," with Cary Grant, Rosalind
Russell, Helen Mack and Ralph Bellamy, witli Howard
Hawks producing-directing. It stems as if it is going to be
a vciy good box-office bet.
"COP FROM HELL'S KITCHEN," with Bruce Cabot,
Jacqueline Weils, Wynne Gibson, and Harry Carey, with
Jack Feir producing, and Charles Barton directing. Cabot
has been in action melodramas more or less, and the title
indicates that the story is of the melodramatic sort. Wynne
Gibson is a good actress ; several years ago she made for
Paramount a mother-love story that stood out. As to Harry
Carey, you know that he is an old experienced actor ; he
was tue cowboy star of old Universal, but in the last few
years the producers, having discovered that he has acting
talent that entitles him to other parts, have been using him
in other types of pictures all along. He took the part of
the Vice President of the United States in "Mr. Smith
Goes to Washington," and, under Mr. Capra's skillful
direction, made it stand out ; he endowed it with human
qualities.
"MUSIC IN MY HEART," with Tony Martin as the
star, ana with Andre Kosteianetz's orchestra. Edith Fcl-
lowes, Alan Mowbray, and Eric Blore are in the cast.
Irving Star is the producer, and Joseph Santley the direc-
tor. It is manifest that this one will be a musical comedy,
with good to very good possibilities.
Me tro-Gcidwyn- Mayer
"BROADWAY MELODY OF 1940," with Fred As-
taire, Eleanor Powell, Frank Morgan, Florence Rice and
George Murphy. Jack Cummings has been producing and
Norman Taurog directing. MGM will, no doubt, make an
outstanding musical comedy out of it, in line with the
quality of this series of pictures, started in the early years
of the advent of sound. The pairing of Fred Astaire with
Eleanor Powell should be watched with interest by the
exhibitors, in that this will be the first musical in which
Mr. Astaire has appeared without Ginger Rogers. The
picture should turn out very good, and even excellent, for
the box office.
"THE EARL OF CHICAGO," with Robert Montgom-
ery, Edward Arnold, and Reginald Owen. Victor Saville,
from England, has been producing, and Richard Thorpe
directing. Mr. Montgomery was a big drawing card at
one time and still is a good one if the story given him is
meritorious. I don't know how this story will tare. It deals
with a hero, gangster in Chicago, who finds out that he is
an Earl, and who, with Edward Arnold, his lawyer, and a
scoundrel, goes to England to take his seat. Eventually he
kills Arnold, the double-crosser, and dies for his crime. It
will undoubtedly be a powerful melodrama.
"NOT TOO NARROW, NOT TOO DEEP," with
Clark Gable, Joan Crawford, Melvyn Douglas, Peter Lorre,
Paul Lukas, Edward Broniberg, Betty Compson, John
Alredge, Sara Hadden, Paul Fix, Jack Mulhall, Francis
McDonald, Eduardo Cianelli and others. Joseph Mankie-
wicz is the producer and Frank Borzage the director. It is
a melodrama of primitive passions and of religion — the
novel by Richard B. Sale — a mixture of revolting acts and
of religious faith. Among the revolting things there is also
degeneracy. There is no doubt, however, that MGM has
altered the plot radically and should make a powerful pic-
ture out of it; and since the cast is formidable and the
director of the first rank, there is no reason why it should
not turn out an excellent box-office attraction.
(Continued next zveek)
PERCENTAGE COST OF OPERATING
A PICTURE THEATRE
From time to time exhibitors write to this office asking
for information relative to the percentage cost of each
item in the operation of a picture theatre. Here are the
figures that a wide-awake exhibitor has given me :
Rent, 15% ; Film, 30% ; salaries, 20% ; heat and adver-
tising, 6% ; light and power, 4% ; taxes, 3% ; incidentals,
2%; depreciation, 3%; maintenance, 3%; miscellaneous,
2% ; profit, 12%.
The figures for heat and advertising may be revised to
give advertising a larger percentage.
IN TWO SECTIONS — SECTION ONE
Entered as second-cl*ss matter January 4, 1921, at the post office at New York, New York, under the act of March 3, 1879.
Harrison's Reports
Yearly Subscription Rates: 1270 SIXTH AVENUE Published Weekly by
United States $15.00 D loio Harrison's Reports, Inc.,
U. S. Insular Possessions. 1G.50 KOOIS1 Publisher
Canada 1G.50 New York, N. Y. P. S. HARRISON, Editor
Mexico, Cuba, Spain 16.50 , , , _,. . _
omit Rritnin IS 7K A Motion Picture Reviewing Service
Australia, New ' Zealand,' Devoted Chiefly to the Interests of the Exhibitors Established July 1, 1919
India, Europe, Asia .... 17.50
„ (-■-_„ Its Editorial Policy: No Problem Too Big for Its Editorial Circle 7-4622
joc a i^opy Columns, if It is to Benefit the Exhibitor.
A REVIEWING SERVICE FREE FROM THE INFLUENCE OF FILM ADVERTISING
SATURDAY, NOVEMBER 18, 1939 No. 46
Vol. XXI
PICTURE PATRONS DO NOT PREJUDGE
— THEY "AFTERJUDGE"
"In an effort to get the facts," says The Holly-
wood Reporter of November 7, "why shouldn't
this great industry go direct to its customers to find
out what it wants to know ? . . . why not carry this
case to the homes of the ticket buyers ? Why not a
census of public opinion?
"Why not find out from the people . . . what they
want in pictures ... the type of stones they like
the best ? . . . "
Mr. Wilkerson is wrong again : Paramount tried
it many years ago ; it used to include in each film
shipment a blank to be filled out by the exhibitor
and to be mailed to the Home Office indicating the
type of pictures the picture-goers preferred, from
their expressions, either among one another, or
from the patrons to the exhibitor. But that system
failed ; it wasn't sound.
For the producers to be able to learn from the
picture-goers what type of stories are best pre-
supposes an understanding of drama on the part of
every picture-goer. Such a supposition is, of course,
preposterous, for Mr. Wilkerson must know, or at
least should have known by this time, that judging
story material requires aptitude first, and training
in addition. How does he expect the picture-goers,
then, to do the work that only a person who has the
aptitude, and is trained, can do?
If it were so easy for untrained persons to judge
story material, there is one more reason why it
should be done much more easily by the producers
themselves. According to such a theory, then, there
should be no poor pictures produced. Why, then, is
the proportion of poor pictures so great, year after
year ? It doesn't make sense.
• This suggestion of Wilkerson's reminds me of
the questionnaire that Motion Picture Herald sent
to the exhibitors several years ago in an effort to
help the producers produce such pictures as would
sell. Under the theory that the exhibitors, who come
ill contact with the picture-going public, should be
able to tell what pictures the public likes best, the
exhibitors were asked to state the kind of stories
that should be produced. I don't know how many of
you read the answers, but let me say that, if the
producers took the exhibitors' advice given through
that questionnaire, the industry would have gone
broke long ago. With the exception of a sugges-
tion here and there that was good, the stories sug-
gested were the greatest conglomeration of trash
imaginable.
Complaints about the poor quality of pictures
from exhibitors, at exhibitor conventions and
through letters to the trade press, are made almost
weekly. Just recently Ray Branch, president of
Allied Theatre Owners of Michigan, on the occa-
sion of his organization's annual meeting, issued a
broadside demanding that the quality of the pic-
tures be improved. But he didn't say how it could
be done.
The producers in Hollywood try to find an ex-
cuse for the extraordinary number of trashy pic-
tures put out each year on the ground that there is
scarcity of good story material ; they say that there
aren't four hundred good stories to be had each
year. And that is the reason, they say, that they
make poor pictures. They point to the stage, stat-
ing that, out of the fifty or sixty plays produced
each year, only a few of them make a box office
success. Why should the moving picture producers,
then, make a greater proportion of good pictures,
when the two arts are so related to each other ?
The number of good stories that may be drawn
out of life each year is as great as is the number of
combinations in a checker board. All it requires is
experience, a little imagination, a little knowledge,
a sympathtic heart, and the proper mediums
through which such stories are to be interpreted.
Do you doubt it ? Let us take one case :
"Cinderella" is certainly a pretty old story — as
old as the hills. Would any one of you ever imagine
that it would make a picture that would have a wide
appeal among adults? Hardly many of you! And
yet it has been done most successfully in Univer-
sal's "First Love." It is nothing but the story of
"Cinderella" ; only that it is in modern dress. Joe
Pasternak, the producer, aided by Henry Koster,
the director, took this story, made a change here
and there, and, with Deanna Durbin to interpret
it, he has produced a picture that should satisfy
the majority of picture-goers. Mr. Pasternak sub-
stituted the servants of the house for the Fairy
Godmother; they effect Cinderella's transforma-
tion by furnishing her with a dress bought by them
although the heroine was led to believe that it was
her old dress, made over by one of the servants. For
the pumpkins and the mice, turned into a beautiful
carriage with full-blooded horses, they furnish her
with the master's automobile. The "Prince" is
there! The slipper is there; and Deanna loses it,
just as Cinderella had lost it ! And the twelve
o'clock time is there, and the near tragedy that fol-
lowed Cinderella's forget fulness was not left out —
everything is there, even to the jealous half-sisters,
in the form of one cousin, who was jealous of the
heroine's success at the ball. Not even the sensation
that Cinderella had created by the beauty of her
(Continued on last fapr)
182
HARRISON'S REPORTS
November 18, 1939
"The Phantom Strikes" with Wilfrid
Lawaon, Sonnie Hale, John Longden
and Alexander Knox
(Monoyram, November 15; time, 58 min.)
Even though this crime picture has been produced in
England, it is not a bad melodrama for a double bill in
theatres in this country, for it lias been produced pretty
well ; it succeeds in holding one's interest pretty tense.
The center of activities is Wilfrid Lavvson, a criminal
lawyer, head of a gang of crooks, who, when he receives
from "The Ringer," whose sister had taken her own life
because of Lawson, a floral piece with a note that he was to
die at midnight on the date on which his (The Ringer's)
sister had died, is visited by the police, who had received
word from Lawson's valet, offering him protection. But
Lawson, fearing detection of his own activities, shows no
interest. But the police surround the place just the same.
Despite the vigilance of the police, Lawson is found dead at
the exact time of the note. Longden, police inspector, brings
to light the fact that the murder had been committed by
Alexander Knox, who, posing as a great criminologist, had
been assisting the police to solve many crimes. Knox takes
poison and dies.
The screen play is by Sidney Gilliat. The picture was
produced by Michael Balcon ; it was directed by Walter
Forde.
Because it is a crime picture, it is not generally suitable
for children. Class B.
"We Are Not Alone" with Paw! Muni
(First National, November 25 ; time, 111 min.)
Although a sombre subject, "We Are Not Alone" will
go down in the industry's history as among the greatest
achievements of the screen. While looking at the picture the
spectator forgets that he is looking at a make-believe
world ; he thinks that he is looking at real-life occurrences.
So artistically are the parts acted. One feels the joys and
the sorrows of the characters as if they were sorrows and
joys of one's own. One feels deep sympathy for the unfor-
tunate hero, and as much love for little Raymond Sev-
ern as if he were one's own son, and one gets to hate
Flora Robson, who takes the part of the hero's wife, for
being so mean and contemptible, and when she dies of
poison, taken by her accidental ly, one does not feel sorry for
her but feels pity for the innocent sufferers, the hero and
the young girl whom he had befriended, and who had
learned to love the hero's son, the boy reciprocating that
sentiment. But Miss Robson's acting is great. The scenes
at the courtroom, where the hero and the young woman arc
tried for the murder of the hero's wife, are tense. It is an
English court, and the atmosphere is realistic to the ex-
treme ; and for this, it is interesting. Una O'Connor, as the
"sneaky" maid, friendly with the hero's wife, does an
excellent piece of acting. Little Raymond Severn does not
act; so natural is he. As for Mr. Muni, it seems as if the
work he does in it has been equalled in artistry only in
"Louis Pasteur." He is kind and tender hearted, bearing
the meanness of his wife with patience and fortitude, never
once allowing himself to be ruffled by a woman who would
have driven most people to despair. Jane Bryan distin-
guishes herself by her wholehearted and skillful acting : —
Paul Muni tries to teach his wife to understand their
six year old son a little better but in vain. The boy loves
his father but almost detests his mother, and when Jane
Bryan comes into his life, he becomes attached to her, be-
cause she was kind toward him — Jane had attempted to
take her own life because she had not been able to find
remunerative work, and Muni had happened to be on the
scene nnd treated her. He tries to help her. One day he went
to a summer resort with her and took his son along ; the
boy had so much fun, and felt so friendly toward the girl,
that Muni, for the boy's sake, met her often. Flora, his
wife, is informed of it and, cunningly, induces Muni to
bring her home to become a servant to them. This Muni
gladly does. But soon Flora shows her mean streak ; send-
ing the boy to her brother, she orders Jane out of the house.
Muni tries to reason with her on the ground that Jane had
no place to go, but in vain. So Muni at last decides to take
her himself to a place in a town nearby with the hope of
getting her placed. During their absence, the boy comes
back home and, when he breaks a bottle containing poison
tablets, he picks up the contents and puts them in a bottle
containing headache tablets. Flora, in the habit of taking
headache tablets often, takes one that day and it happens to
be the poison tablet. As a result, she dies. Muni and Jane
are arrested and, after a sensational trial, in which the two
had been accused of having poisoned Flora deliberately to
satisfy their love instinct, are condemned to death. The
efforts of the attorney for the defense to persuade Muni to
allow him to put little Raymond on the stand are of no
avail ; Muni, fearing that the court proceedings would have
left their mark upon so sensitive a nature as that of Ray-
mond's, forbids it. Thus Muni and Jane go to their doom,
though innocent. (The last scene shows Raymond taking a
bath and looking with his big eyes at the clock, which
showed that the time was nine o'clock, the time that his
father and the girl were to die.)
The plot has been founded on the James Hilton novel;
the screen play is by James Hilton and Milion Krims.
Edmund Goulding directed it, under the supervision of
Hal Wallis.
buuabihty, Class A.
"Sabotage" with Arleen Whelan, Cordon
Oliver and Charley Grapewin
(Republic, October 13 ; running time, 66 min.)
Even though the development of the plot in some situa-
tions is illogical, "Sabotage" is not a bad progiam melo-
drama, for its acton is pretty fast, and it holds the spectator
in fairly tense suspense. Moreover, it covers a ground that
is somewhat different from the ground covered by other
csp.onage pictures. There is some human interest, and a
fairly charming love affair.
This time the background is furnished by an aeroplane
factory constructing bombing planes for the U. S. Govern-
ment. But all bombers built on a new model arc wrecked
because of espionage work, and Gordon Oliver (hero), a
mechanic in the aeroplane factory, is accused of being con-
nected with the ring, because there were found in his locker
at the shop drawings, and he could not convince the authori-
ties that they were merely effoits of his to progress in his
work so as to earn promotion. He is arrested by the F.B.I,
as a spy and things iook dark for him until Grapewin (his
father), undertakes to uncover the guilty persons. With the
help of seveial members from the Old Veterans' Home, he
succeeds, by following several clues, in uncovering the spy
ring, thus clearing his son's name.
It is an original screen play, by Lionel Houscr and Alice
Altschuler. The picture was produced by Al Wilson, and
directed by Harold Young. Lucien Littlefield, J. M. Kerri-
gan and others are in the supporting cast.
Suitability, Class A.
"Laugh It Off!" with Constance Moore,
Johnny Downs, riedda Hopper
and Cecil Cunningham
( Universal, December 1 ; time, 63 min.)
A nice program picture, produced as lavishly as many of
the big pictures. Ihere is human interest, and there are
some humorous situations. And the action is pretty fast. It
is the kind of picture that could be paired with a big picture
on a double bill with far greater suitability than could
an out and out gangster, or crook type, of picture. The cast
consists chiefly of women, young and old. There is also a
mildly charming romance : —
When the Spencer Home for Retired Ladies goes bank-
rupt through mismanagement, the group of old-lady show
girls who had put their savings in the establishment are left
"flat.'' At a conference, consisting of Marjorie Rambeau,
Hedda Hopper, Janet Beecher, Cecil Cunningham, and
Paula Stone, it is decided that the group follow Cecil to
New York to seek work. In New York Cecil seeks and
finds Johnny Downs, her nephew, a promising young lawyer
with musical inclinations, in an effort to get some kind of
settlement for the money they had lost. They find that the
only member of the Spencer family left was Constance
Moore, a promising young singer, and that she had given
up her last cent to keep the Home from closing. Thus
Johnny and Constance become acquainted. The old ladies go
to William Demarest, proprietor of the Hunt Club, for
jobs. That moment the Club is raided and the ladies are
taken before Judge Edgar Kennedy. Edgar gives them
thirty days in which to show that they can earn their own
living, failure meaning their dispatch to some old ladies'
home. Demarest, because he owed a racketeer a large sum
of money and could not pay, disappears. Consequently,
when the old ladies are freed they decide to open the Club.
They take the Clubs' chorus girls into their confidence and
all agree to help. The Club, giving acts performed by young
as well as by old ladies, and with a band that had been
formed by Johnny, helped by the newspapers, is a hit, and
when Demarest returns and is caught by the racketeer,
Cecil intervenes and induces him to cancel the debt for an
interest in the Club. The racketeer consents. Johnny and
Constance become engaged.
The story is by Lee Loeb and Mortimer Braus ; the
screen play, by Harry Clork. Albert S. Rogel produced
and directed it.
Suitability, Class A.
November 18, 1939
HARRISON'S REPORTS
183
"First Love" with Deanna Durbin
(Universal [1938-39], November 10; time, 84 min.)
Very good. This is Deanna Durbin's first grown-up part
and she handles it with her customary ability and charm.
Although the story is just a simple modernized version of
the '"Cinderella" tale, it keeps one amused, for it has human
appeal, and is wholesome and comical ; moreover, the per-
formances are good. All the Durbin pictures have been
produced with care and with lavish backgrounds, but this
one is "tops" in lavishness, thus adding to its entertainment
value as far as women are concerned. The romance has been
handled well, in a sort of humorous vein, without making
Miss Durbin seem too grown up. She is as refreshing as
ever, and sings extremely well : —
Miss Durbin, an orphan, leaves finishing school to take
up residence in the home of her millionaire uncle (Eugene
Pallette). She does not receive much attention from the
family, for Pallette's wife (Leatrice Joy) was flighty and
scatter-brained, his daughter (Helen Parrish) mean and
concerned only with receiving publicity in society columns,
and his son (Lewis Howard) lazy. Miss Durbin's only
friends were the household servants. Following Miss Par-
rish's orders to use her wits in preventing a young society
man (Robert Stack) from leaving the country club before
her arrival, Miss Durbin resorts to tricks to keep him at the
club without revealing her purpose for doing so.' When
Miss Parrish arrives Miss Durbin runs back home; but
she cannot forget Stack. The servants, learning that Miss
Durbin's heart was set on going to a ball to be given by
Stack's parents, pool together their resources and buy her a
beautiful formal outfit. But at the last moment, Miss Par-
rish finds an excuse to make her stay at home. Again the
servants come to Miss Durbin's rescue ! With the help of
a motorcycle policeman (Frank Jenks), brother to the
cook, they prevent Miss Parrish and her party from arriv-
ing at the ball ; and they send Miss Durbin there with a
motorcycle escort. Stack is charmed by her, particularly
after she sings. But following the servants' instructions, she
is compelled to rush home at the stroke of twelve. In her
rush, she leaves one of her slippers on the stairway. Miss
Parrish learns what had happened and creates a scene ; she
discharges all the servants. Miss Durbin, heart-broken,
returns to her school in an effort to obtain a position as
music teacher. But the schoolmistress, who loved her, con-
trives to bring her together with Stack.
Bruce Manning and Lionel Houser wrote the screen play,
Henry Koster directed it, and Joe Pasternak produced it.
In the cast are June Storey, Charles Coleman, Kathleen
Howard, Marcia Mae Jones, and others.
Suitability, Class A.
"Remember" with Robert Taylor, Lew
Ayres, Greer Garson, Biilie Burke,
Reginald Owen and George Barbier
(MGM, November 10; running time, 82 min.)
Not much of entertainment. There isn't much human
interest in it, and the comedy, which is of the sophisticated
kind, is not such as to make one notice it. The action barely
holds one's interest. There are unentertaining pictures for
which one may blame the producers, but not in this instance ;
the idea of making the hero and the heroine drink a potion
that made them forget what had happened to them for six
months previously seems to have struck them as a good
one, and so it would have struck many others, but it has not
"clicked." There is a romance.
It is the story of a friend (Lew Ayres), who introduces
his fiancee (Greer Garson — she first became known here
in "Good-bye Mr. Chips") to his best friend (Robert
Taylor), and loses her to him. They get married. A doctor
was working on a new chemical discovery that would make
those who would drink it forget their experiences for six
months previously. Avres gives both Robert and Greer the
potion in an effort to find out how it would work, and both
lorgct that they had married, and that they had divorced
themrclvcs. Consequently, when they come face to face
a^ain they relive their lives — they begin courting each other,
and otherwise going through the same routine, even to the
detail of the elopement. And on their way to the judge for
the marriage ceremony they are again arrested for speeding,
and by the same motorcycle cop, and are again able to get
out of it by telling him that they were eloping. The amazed
cop again conducts them to the judge's. It is the judge who
had performed the first ceremony, but because he knew tint
they had divorced themselves, he remarries them.
The screenplay is by Corey Ford and Norman Z. Mc-
Lcod ; Mr. McLcod also directed it. In the supporting cast
are Laura Hope Crews, Sara Hadcn, Halliwell Hobbs,
Paul I lurst, and others.
Suitability, Class A.
"The Covered Trailer" with James, Lucile
and Russell Gleason
(Republic, November 10; time, 63 min.)
This family comedy, another in the series of the "Higgins
Family" pictures, is just moderately entertaining program
fare. In an effort to provoke laughter, the screen play
writers forced the action to the point where it becomes
annoying. As a matter of fact, the picture should appeal
mostly to the juvenile trade, for the plot is too silly for
adult consumption. The performances are adequate and the
production values fairly good : —
Expecting to receive $10,01)0 on an annuity policy, James
Gleason prepares to take his family on a trip to South
America. But Lucile spoils everything when she confides to
the insurance man that her husband was 44 years old and
not 45, as the policy required. No money, no trip ! Realizing
they would be the laughing stock of the town if they did not
go away, Gleason and the family decide to hide out with
grandpa (Harry Davenport), who had been planning a
fishing trip. While they are gone, news reaches the town
that the boat on which the Gleasons were supposed to have
sailed had been sunk and that the Gleasons had drowned.
Hobart Cavanaugh, who worked as Gleason's assistant in
the bank, falsifies the books to make it appear as if Gleason
had stolen $100,000, which he himself takes. Word reaches
Gleason about the theft and the scandal. He decides to rush
back to town in order to clear his name. With the help of
his daughter's fiance, who worked in the bank, Gleason,
after many exciting experiences, finally proves Cavanaugh's
guilt and re-establishes himself with the bank. The follow-
ing year, when he collects his insurance money, he and the
family actually leave for South America.
Jack Townley and M. Coates Webster wrote the story,
and Jack Townley, the screen play ; Gus Meins directed it.
In the cast are Mary Beth LIughes, Tommy Ryan, Maurice
Murphy, Maude Eburne, Spencer Charters and others.
Suitability, Class A.
"Reno" with Richard Dix, Gail Patrick
and Anita Louise
(RKO, December 1 ; running time, 72 min.)
A fairly good program picture. It could have been much
better, because the story material is good, but it seems to
have gong wrong in the treatment. The story opens near
the finish, and is told in flashback ; and because the writer
failed to ingratiate the hero with the spectator, one docs not
feel the interest he should have felt in the hero's fate. As a
matter of fact, one does not know the specific reason why
he was on trial ; it is not revealed until the picture picks up
the story's threads where they were left off. Even then, one
fails to feel warmth toward him despite his self-sacrifice,
because at no time is he shown as a character deserving
one's warm sympathy, for he is a gambler, a former lawyer
who had been disbarred because of unethical practices. The
"sting" could have been removed with the right kind of
treatment. Yet the picture holds one's attention pretty tense,
because the hero's doings are fairly interesting. It should
fit well on a double-feature program : — ■
Richard Dix, an aspiring young lawyer, goes to Reno, an
insignificant Nevada town, to practice law. Unable to inter-
est Charles Halton, the town's most prominent lawyer, to
give him a job, Dix opens an office of his own. He induces
Gail Patrick, who worked for Halton, to work for him and,
in a short time, he marries her. They have a daughter. Soon
he gains fame among the miners and works up a big prac-
tice. But the mines shut clown and the town becomes dead.
Dix then conceives the idea of making Reno the divorce
center of the United States. He succeeds, but because he
had been employing unethical practices he is disbarred. He
goes away and years later he returns and, under an assumed
name, opens, a gambling hall. But he conducts it honestly.
Anita Louise comes to town for a divorce and gambles at
Dix's place. When Dix finds out that she was his daughter,
and that her husband was a good fellow, he tries, to all
appearances disinterestedly, to persuade her to go back to
him and, when he is unable to do so, he has the roulette
wheel so rigged up that she is made always to lose, in this
manner hoping to save her from the tragedy of a divorce.
Anita discovers the rigging and has Dix arrested. At the
trial, Dix reveals his identity and tells the jury the reason
for which he had resorted to that act. When Louise finds out
that she had arrested her own father, she refuses to testify
and the case is thrown out of court. Father and daughter
arc reconciled, and she takes his advice about going back
to her husband.
The story is by Ellis St. Joseph ; the screen play, by John
Twist. John Farrow directed it and Robert Sisk produced
it. In the supporting cast are Hobart Cavanaugh, Laura
Hope Crews, Joyce Compton, and others.
Suitability, Class A.
184
HARRISON'S REPORTS
November 18, 1939
person and the gorgeous clothes she had worn
had been overlooked. But what a charming story
Mr. Pasternak has concocted out of all these old
facts ! And simply because he used a little imagina-
tion, and was guided by his big heart, not to say
anything about his experience and training.
Yes, there is nothing that can be done to improve
the proportion of box-office successes to the box-
office failures : those who have experience, training,
imagination and the heart, and have the proper
mediums by which they can make the interpretation
of their concoctions, will always make good pic-
tures; those who do not possess such assets will
keep on making box-office failures. And no human
being can change the conditions, not even if most
relatives were discharged from whatever high posts
they may occupy.
It is useless to ask picture patrons what stories
they like best. They don't know ! All they know is
whether they like the picture they have seen or not !
It is up to the studio heads, then, to give a chance
to those who have imagination, training, experience
and a big heart to do their work unhandicapped. It
is the only way by which a greater proportion of
box-office successes may be produced.
COLUMBIA'S SHORT "FUTURAMA"
AN ADVERTISEMENT
"The 'Highways and Horizons of I960' exhibit,
starring the internationally-famous 'Futurama,'
which proved the outstanding attraction of the New
York World's Fair," says a statement sent to the
trade papers by Columbia Pictures Corporation on
October 24, "now is to feature a one-reel special
release . . . released by Columbia Pictures Corpora-
tion. ... It will be brought to the nation's screens
next [this] month under the title of 'The World
of I960' . . .
"The 'Futurama' has been the outstanding attrac-
tion at the New York World's Fair, playing before
5,000,000 visitors, drawing capacity crowds every
day from early morning until closing time, with
thousands lined up outside the entrance to the
'Highways and Horizons of I960' exhibit to gain
admission to this remarkable display. ..."
The Columbia statement as to the number of
people that visited this show and as to the lines that
formed outside the exhibit in an effort to gain
admission, which was free, is absolutely correct. I
myself had to use influence to gain admission by the
side-door to see it without having to wait two hours
in line.
There is, however, one fact — a very important
fact, which Columbia studiously avoided stating.
It is the fact that the 'Futurama' was produced by
General Motors, as an advertisement of its cars. It
was in the same building as the General Motors
exhibit.
My information is to the effect that General
Motors placed this reel with Columbia without
charging anything for the cost of producing it, and
that Columbia is going to charge you a rental for it.
If my information is correct, then Columbia is
going to use your screens for advertising purposes
without your knowledge, and naturally without
your consent, and without paying you for it instead
of charging you for the use of the reel.
Columbia's studious effort to avoid informing
you that this is a General Motors advertising reel
leads me to believe that my information is correct
as to its having obtained this reel from General
Motors free, and perhaps get paid for it.
Even if it had paid for it, the fact that Columbia
tried to "sneak" it into your theatres without in-
forming you first that it is a General Motors adver-
tisement is an act that is, in my opinion, reprehen-
sible in the extreme; but my information is to the
effect that it got it free. Ask the Columbia exchange
for the facts of the matter. Or you might write to
Abe Montague, general sales manager, Columbia
Pictures Corporation, 729 Seventh Avenue, New
York, N. Y. ; he ought to give you the facts.
Whichever the case, you should run this reel, be-
cause the show captured the imagination of the
public. My motive for writing this editorial is my
desire to see you either get paid for its showing, if
Columbia is charging General Motors a certain
price in accordance with the number of people that
will see it at your theatres, or at least to get it free
of charge, if Columbia is not charging General
Motors anything for the showing.
PICTURES IN PRODUCTION NOW
IN HOLLYWOOD
Metro-Gold wyn-Mayer
(Continued from last week)
The following are additional pictures that are
now in production at the MGM studios :
"The Shop Around the Corner," with Margaret
Sullavan and James Stewart in the leads, and with
Frank Morgan, Joseph Schildkraut, Sara Haden,
Inez Courtney and others in the cast, to be pro-
duced and directed by Ernst Lubitsch. Since his
appearance in "Mr. Smith Goes to Washington,"
Mr. Stewart has become more popular, and since
Miss Sullavan has a large following, and the picture
will be produced by Mr. Lubitsch, producer of the
successful "Ninotchka" with Greta Garbo, there is
no reason why this picture is not going to turn out
a very good to excellent box office attraction, even
though no story has been given out to enable one to
judge it better.
"Congo Maisie," with Ann Sothern, John Car-
roll, Rita Johnson, J. M. Kerrigan, and Forrester
Harvey, to be produced by J- Walter Ruben, and
to be directed by H. C. Potter. Evidently this is
going to be a program picture, suitable for double
bids.
"Florian," with Robert Young, Helen Gilbert,
Reginald Owen, Charles Coburn and others, di-
rected by Edwin L. Marin, an able director, and
produced by Winfield Sheehan, producer of many
roadshow successes while head of the Fox studio.
The Felix Salten novel, upon which this picture is
founded, is, as forecast in the May 20 issue of
Harrison's Reports, very good ; it has human
interest and glamour. Consequently, Mr. Sheehan
should make a very good picture out of it. Robert
Young has a considerable following. Plelen Gilbert
is a newcomer, but Mr. Sheehan's tests of her
proved so satisfactory that the studio put her under
contract.
(To he continued next week)
IN TWO SECTIONS — SECTION TWO
HARRISON'S REPORTS
Vol. XXI NEW YORK, N. Y., SATURDAY, NOVEMBER 18, 1939 No. 4f
(Partial Index No. 6— Pages 158 to 180 Incl.)
Titles of Pictures Reviezved on Page
Allegheny Uprising— RKO (80 min.) 175
At the Circus— MGM (86 min.) 167
Babes in Arms— MGM (95 min.) 163
Bad Little Angel— MGM (72 min.) 174
Beware of Spooks — Columbia (68 min.) 175
Call a Messenger — Universal (64 min.) 170
Calling All Marines— Republic (66 min.) 159
Cat and the Canary, The — Paramount (73 min.) 171
Dancing Co-Ed— MGM (84 min.) 163
Desperate Trails — Universal (58m.) Not Reviewed
Disputed Passage — Paramount (91 min.) 166
Drums Along the Mohawk — 20th Century-Fox
(103 min.) 179
Espionage Agent — First National (82 min.) 158
Eternally Yours — United Artists (100 min.) 162
Fast and Furious — MGM (73 min.) 163
Flying Deuces, The— RKO (68 min.) 171
Heaven with a Barbed Wire Fence — 20th Century-
Fox (62 min.) 178
Here I Am a Stranger— 20th Century-Fox (83m.) ... .158
Hollywood Cavalcade — 20th Century-Fox (96 min.).. 162
Housekeeper's Daughter, The — United Artists (79m.). 171
Intermezzo — United Artists (70 min.) 163
Jeepers Creepers — Republic (66 min.) 174
Kansas Terrors — Republic (57 min.) Not Reviewed
Kid Nightingale— Warner Bros. (S6l/2 min.) 178
Law of the Pampas— Paramount (71m.) .. .Not Reviewed
Legion of Lost Flyers— Universal (63 min.) 159
Little Accident — Universal (64 min.) 179
Main Street Lawyer— Republic (7\l/2 min.) 175
Meet Dr. Christian— RKO (70 min.) 174
Mr. Smith Goes to Washington— Columbia ( 127 min.) . 166
Mutiny in the Big House— Monogram (83 min.) 166
Nancy Drew and the Hidden Staircase —
Warner Bros. (60 min.) Not Reviewed
Ninotchka— MGM (110 min.) 167
Oklahoma Frontier— Universal (58 min.) .. Not Reviewed
On Dress Parade— Warner Bros. (62 min.) 178
One Hour to Live — Universal (59 min.) 159
$1,000 a Touchdown — Paramount (73 min.) 163
On Your Toes— First National (94 min.) 162
Outpost of the Mounties— Columbia (63m.) .Not Reviewed
Pack Up Your Troubles— 20th Century-Fox (75m.) . . .158
Pride of the Blue Grass, The— Warner Bros. (64m.) . .167
Private Lives of Elizabeth and Essex, The—
Warner Bros. (106 min.) 162
Range War— Paramount (65 min.) Not Reviewed
Rio — Universal (77 min.) 162
Roaring '20s— Warner Bros. ( 105 min.) ...... '. 174
Scandal Sheet— Columbia (65 min.) 170
Shipyard Sally— 20th Centurv-Fox (79 min.) ' 170
Smashing the Money Ring— Warner Bros. (56 min.) 171
Stranger from Texas— Columbia (54m.) ... Not Reviewed
Sued for Libel— RKO (66 min.) 170
Television Spy— Paramount (57 min.) 170
Those High Grey Walls— Columbia (82m.) 166
Three Sons— RKO (72 min.) ]()7
Too Busy to Work— 20th Century-Fox (65 min ) . . 179
20,000 Men a Year— 20th Century-Fox (83 min.) 175
U- Boat 29— Columbia (79 min.) 15s
RELEASE SCHEDULE FOR FEATURES
Columbia Features
(729 Seventh Ave., New York, N. Y.)
1938-39 Season
9010 Blondie Takes a Vacation — Singleton July 20
9033 Behind Prison Gates— Donlevy-Wells July 28
9008 Coast Guard — Scott-Dee-Bellamy Aug. 4
9018 Man They Could Not Hang— Karloff Aug. 17
9017 Five Little Peppers and How They Grew —
Edith Fellows Aug. 22
9209 Riders of Black River— Starrett (59m.) ....Aug.2.:
9034 Konga, The Wild Stallion— Fred Stone ....Aug. 3'
9002 Golden Boy — Stanwyck-Men jou Sept. 5
(End of 1938-39 Season)
Beginning of 1939-40 Season
1025 Hidden Power— Jack Holt Sept. 7
1201 Outpost of the Mounties— Starrett (63m.) .. Sept. 14
1015 Those High Grey Walls— Connolly Sept. 21
1010 U-Boat 29— Veidt-Hobson Oct. )
1031 Scandal Sheet — Kruger-Munson Oct. 16
1101 Mr. Smith Goes to Washington — Stewart ...Oct. 19
1011 Beware Spooks — Joe E. Brown-Carlisle Oct. 24
1032 Miracle of Main Street— Abel-Margo Oct. 29
1020 The Stranger from Texas — Starrett (54m.). Nov. 2
Blondie Brings Up Baby — Singleton (re.) ..Nov. 9
The Amazing Mr. Williams (The Incredible
Mr. Williams)— Blondell-Douglas Nov. 23
Cafe Hostess — Foster-Dvorak Nov. 30
I Married Adventure — Mrs. Johnson Dec. 1
1211 Taming of the West— Bill Elliott (55rn.) ...Dec. 7
Fugitive at Large — Holt-Ellis Dec. 7
His Girl Friday— Grant-Russell Dec. 25
First National Features
(321 IV. 44th St., New York, N. Y.)
367 Angels Wash Their Faces— Sheridan Aug. 26
376 Everybody's Hobby (The Hobby Family) —
Rich-O'Neill-Moran Aug. 26
(End of 1938-39 Season)
Beginning of 1939-40 Season
452 The Old Maid— Davis-Hopkins-Brent Sept. 2
461 Dust Be My Destiny— Garfield-P. Lane Sept. 16
469 No Place to Go— D. Morgan-Dickson-Stone. .Sept. 23
462 Espionage Agent— McCrea-Marshall Sept. 30
463 On Your Toes — Zorina- Albert-Hale Oct. 14
470 Smashing the Money Ring — Reagan- Fov, Jr... Oct. 21
We Are Not Alone — Muni-Bryan-Robson ...Nov. 25
The Return of Doctor X — Morris-Lane Dec. 2
471 Private Detective — Wyman-Foran Dec. 9
Four Wives — Lane Sistcrs-Rains-Lynn Dec. 25
Grand National Features
(50 Rockefeller Plata, New York, N. Y.)
315 Children of the Wild— Valeric-Bush Oct. 14
Metro-Goldwyn-Mayer Features
(1540 Broadimy, New York, N. Y.)
6 Fast and Furious — Tone-Sothern Oct. 6
9 Babes in Arms — Rooney-Garland Oct. 13
8 Marx Bros. "At the Circus" — Rice-Baker Oct. 20
10 Bad Little Angel— Weidler-Reynolds Oct. 27
7 Ninotclika — Garbo-Douglas (reset) Nov. 3
11 Remember? — Taylor-Garson-Ayres-Burke ...Nov. 10
13 Another Thin Man — Powell-Loy Nov. 17
12 The Secret of Dr. Kildare — Ayres-Barrymore-
Atwill Nov. 24
Joe and Ethel Turp Call on the President—
Sothei n-Stonc-Brennan Dec. 1
2 Henry Goes Arizona — Morgan-Weidlcr Dec. 8
Nick Carter, Master Detective — Pidgeon Dec. 15
Judge Hardy and Son — Rooney-Stone Dec. 22
Balalaika — Eddy-Massey-Ruggles-Morgan .... Dec. 29
Monogram Features
(1270 Sixth Ave., New York, N. Y.)
3815 Sky Patrol— John Trent Sept. 9
3808 Mr. Wong at Headquarters— Karloff Sept. 25
3831 Fight lor Peace — Special (65 min.) Sept. 30
3803 Mutiny in the Big House— Bickford Oct. 25
3857 Overland Mail— Randall (56 min.) Oct. 31
3816 Danger Flight — John Trent (reset) Nov. 1
(End of 1938-39 Season)
Beginning of 1939-40 Season
3936 Crashing Thru — James Newill (61 min.) ....Oct. 1
Riders of Destiny — Wayne reissue (58m.) ..Oct. 20
Sagebrush Trail — Wayne reissue (59m.) Oct. 20
3937 Fighting Mad— James Newill (60 min.) Nov. 5
3919 Heroes in Blue— Purcell-Hayes (59 min.) ..Nov. 7
3923 The Phantom Strikes — Hale-Lawson Nov. 15
Roll, Wagons, Roll— Ritter Nov. 25
Yukon Flight — James Newill Dec. 1
Gentleman from Arizona — MacDonald Dec. 4
West of the Divide — John Wayne Dec. 10
Lucky Texan — John Wayne Dec. 10
Paramount Features
(1501 Broadimy, New York, N. Y.)
3907 Television Spy — Henry-Barrett Oct. 20
3908 Disputed Passage — Lamour-Tamiroff Oct. 27
3955 Law of the Pampas — Boyd (71 min.) Nov. 3
3909 The Cat and the Canary — Hope-Goddard . . . Nov. 10
3910 Rulers of the Sea— Fairbanks, Jr Nov. 17
391 1 Our Neighbors, the Carters — Bainter Nov. 24
3912 The Night of Nights— O'Brien-Bradna Dec. 1
3913 Llano Kid— Guizar-Dunn (69^m.) (re.)... Dec. 8
3914 All Women Have Secrets— Allen, Jr Dec. 15
Gulliver's Travels — Cartoon Dec. 22
The Great Victor Herbert — Connolly-
Martin-Jones Dec. 29
Republic Features
(1776 Broadimy, New York, N. Y.)
1938- 39 Season
857 Wall Street Cowboy — Rogers (66 min.) ....Sept. 6
848 Rovin' Tumbleweeds — Gene Autry (64m.) ..Nov. 16
(End of 1938-39 Season)
1939- 40 Season
961 The Kansas Terrors — Three Mesq. (57m.) ...Oct. 6
913 Sabotage— Whclan-Oliver Oct. 13
914 Jeepers Creepers — Weaver Bros. -Rogers Oct. 27
905 Main Street Lawyer — Ellis-A. Louise Nov. 3
915 The Covered Trailer — Gleasons (63 min.) Nov. 10
952 Saga of Death Valley— Rogers (58 min.) ...Nov. 22
RKO Features
(1270 Sixth Ave., New York, N. F.)
1938-39 Season
936 In Name Onlj — Lombard-Grant-Francis Aug. 18
935 Conspiracy — Lane-Hayes Sept. 1
986 The Fighting Gringo — Geo. O'Brien (reset) .. Sept. 8
934 Fifth Avenue Girl — Rogers-Connolly Sept. ll
946 Everything's on Ice — Dare-Kennedy Oct. 6
(more to come)
Beginning of 1939-40 Season
003 Full Confession — MacLaglen-Eilers Sept. 8
002 The Day the Bookies Wept — Penner-Grable. .Sept. 15
001 Nurse Edith Cavell— Neagle-Oliver-Pitts ..Sept. 29
004 Three Sons — Ellis-Gargan-K. Taylor Oct. 13
012 Sued for Libel— K. Taylor-L. Hayes Oct. 27
010 The Flying Deuces — Laurel-Hardy (re.) Nov. 3
061 Queen of Destiny — Neagle-Walbrook Nov. 3
081 The Marshal of Mesa City— O'Brien Nov. 3
006 Allegheny Uprising (Allegheny Frontier) —
Wayne-Trevor (reset) Nov. 10
005 Meet Dr. Christian— Jean Hersholt Nov. 17
011 That's Right, You're Wrong — Kyser-Mcnjou. Nov. 24
008 Reno — Dix-Patrick- Louise (reset) Dec. 1
007 Vigil in the Night — Lombard Postponed
Twentieth Century-Fox Features
(444 W. 56th St., New York, N. Y.)
006 Charlie Chan at Treasure Island — Toler Sept. 8
011 The Rains Came — Power-Loy-Brent Sept. 15
00S Stop, Look and Love — Rogers-Frawley Sept. 22
009 Here I Am a Stranger — Greene-Dix-Joyce . . Sept. 29
010 The Escape — Richmond-Duff-Gale-Norris ...Oct. 6
007 Hollywood Cavalcade — Faye-Ameche Oct. 13
061 The Road to Glory— Reissue (101 min.) Oct. 13
014 Pack Up Your Troubles— Withers-Ritz Oct. 20
018 Shipyard Sally— Gracie Fields— S. Howard ..Oct. 20
013 20,000 Men a Year— Scott-Foster-Lindsay . . . Oct. 27
062 The First World War— Reissue (78 min.) . . .Oct. 27
019 Heaven with a Barbed Wire Fence — Rogers. .Nov. 3
015 Drums Along the Mohawk — Colbert-Fonda ..Nov. 10
016 The Jones Family in Too Busy to Work —
Prouty-Byington Nov. 17
020 Day-Time Wife — Power-Darnell-Barnes Nov. 24
021 Charlie Chan in City in Darkness — Toler Dec. 1
022 Inspector Hornleigh on Holiday — Harker Dec. 1
026 Barricade — Faye-Baxter-Winninger Dec. 8
024 The Honeymoon's Over — Erwin-Weaver Dec. 15
025 The Blue Bird — Temple- Jason-Sondergaard. . Dec. 22
012 The Cisco Kid and the Lady— Romero Dec. 29
United Artists Features
(729 Seventh Ave., New York, N. Y.)
They Shall Have Music — McCrea-PIeifetz-Leeds. Aug. 18
Intermezzo: A Love Story — Howard-Bergman. .. Sept. 22
The Real Glory — Cooper-Leeds-Niven-Owen Sept. 29
Eternally Yours — L. Young-D. Niven Oct. 6
The Housekeeper's Daughter — J. Bennett-
Menjou (reset) Oct. 26
City for Sale— Pat O'Brien-Ruth Terry Nov. 23
Universal Features
Columbia — Two Reels
(1250 Sixth Ave., Nezv York, N. Y.)
A3031 The Forgotten Woman — Gurie-Briggs ....July 7
A3008 Unexpected Father— Auer-O'Keefe July 14
A3007 I Stole a Million— Raft-Trevor July 21
A3003 When Tomorrow Comes — Dunne-Boyer ..Aug. 11
A3002 First Love— Durbin-Pallette (reset) Nov. 10
(End of 1938-39 Season)
Beginning of 1939-40 Season
4051 Mutiny on the Black Hawk — Arlen-Devine .Sept. 1
4010 The Under-Pup — Cummings-Grey Sept. 1
4044 The Mikado— Kenny Baker Sept. 8
4059 Desperate Trails — Brown-Baker (58m.) Sept. 8
4024 Hawaiian Nights — Downs-Carlisle Sept. 8
4017 Two Bright Boys — Cooper-Bartholomew ...Sept. 15
4027 The Witness Vanishes — Lowe-Barrie Sept. 22
4014 Rio — Gurie-Rathbone-Cummings Sept. 29
4073 All Quiet on the Western Front —
Reissue (93 min.) Sept. 29
4035 Hero for a Day — Louise-Foran-Grapewin ...Oct. 6
4052 Tropic Fury — Arlen-Devine Oct. 13
4059 Oklahoma Frontier— Brown (58 min.) Oct. 20
4019 Little Accident— Sandy-Herbert (re.) Oct. 27
4074 The Road Back— Reissue (79 min.) Nov. 3
4020 Call a Messenger — Carlisle-Armstrong Nov. 3
4053 Legion of Lost Flyers — Arlen-Devine Nov. 3
4030 One Hour to Live— Bickford-Nolan (re.) . . - Nov. 10
Tower of London — Karloff-Rathbone (re.) . .Nov. 17
The Invisible Man Returns — Hardwicke-
Price-Grey Nov. 24
Chip of the Flying U — Brown-Baker (55m.) .Nov. 24
Laugh It Off — Downs-Moore (63 min.) Dec. 1
Man from Montreal — Arlen-Devine-Sutton.Dec. 8
West of Carson City — Brown-Baker (55m.) .Dec. 15
Missing Evidence — Foster-Hervey Dec. 15
The Big Guy — McLaglen-Cooper Dec. 22
Green Hell — Fairbanks, Jr. -J. Bennett (re.). Dec. 29
Destry Rides Again — Dietrch-Stewart Postponed
1938- 39 Season
9170 The Black Raiders— Overland #10 (16m.) . .Sept. 22
9171 Foiled— Overland #11 (17m.) Sept. 29
9172 The Warning— Overland #12 (17m.) Oct. 6
9173 Terror in the Night— Overland #13 Oct. 13
9174 Crumbling Walls— Overland #14 Oct. 21
9175 Unmasked— Overland #15 Oct. 27
(End of 1938-39 Season)
1939- 40 Season
1423 All American Blondes— All Star (16m.) ....Oct. 20
1424 Teacher's Pest — C. Chase (16m.) Nov. 3
1425 Not Yet Titled— Buster Keaton Nov. 17
1403 Three Sappy People — Stooges (17m.) Dec. 1
Metro-Goldwyn-Mayer — One Reel
1938- 39 Season
S-912 Football Thrills of 1938— Smith (10m.) ...Sept. 16
W-890 One Mother's Family— Cartoons (9m.) ..Sept. 30
S-913 Set 'Em Up— Pete Smith (10m.) Oct. 7
(One more cartoon to come)
1939- 40 Season
M-73 A Failure at Fifty — Miniatures (10m.) Oct. 7
T-52 Natural Wonders of Washington State —
Traveltalks (9 min.) Oct. 7
C-132 Dad for a Day— Our Gang (11m.) Oct. 21
S-101 Let's Talk Turkey— Pete Smith (10m.) ....Oct.2f
T-53 Quaint St. Augustine — Traveltalks Nov. -.
M-74 Mendelssohn's Wedding March — Min. (8m). Nov. 4
S-102 Ski Birds— Pete Smith (8m.) Nov. If
Metro-Goldwyn-Mayer — Two Reels
P-815 Think First— Crime Doesn't Pay (21m.) ..Sept. 9
P-816 Drunk Driving— Crime Doesn't Pay (21m.) .Oct. 28
(End of 1938-39 Season)
Warner Bros. Features
(321 W. 44th St., New York, N. Y.)
Beginning of 1939-40 Season
419 Nancy Drew and the Hidden Staircase —
Granville-Litel-Thomas Sept. 9
418 Pride of the Blue Grass— Fellows Oct. 7
403 The Roaring Twenties — Cagney-P. Lane Oct. 28
411 Kid Nightingale — Payne- Wyman Nov. 4
402 The Private Lives of Elizabeth and Essex —
Davis-Flynn-deHavilland Nov. 11
"Dead End" Kids on Dress Parade— Dead End
Kids-Litel-Thomas Nov. 18
420 The Mad Empress — Novara-Atwill-Nagel ...Dec. 16
(415 "A Child Is Bom" has been temporarily ivithdrazm)
SHORT SUBJECT RELEASE SCHEDULE
Columbia — One Reel
1801 Bows and Arrows— World of Sports (9m.) . .Sept. 29
1751 Little Lost Sheep— Fables (7m.) Oct. 6
1602 Charles Goodyear — Fools (11m.) Oct. 6
1901 Washington Parade #1 — Smithsonian
Institution (9y2 min.) Oct. 6
1653 Community Sing No. 3 — (10m.) Oct. 13
1503 Dreams on Ice — Color Rhapsody Oct. 20
1852 Screen Snapshots No. 2— (reset) Oct. 27
1552 Modern Cities of India— Tours (10m.) Oct. 27
1802 Jai-Alai— World of Sports Nov. 3
1504 Mountain Ears — Color Rhapsody Nov. 3
1654 Community Sing No. 4 Nov. 17
1553 Beautiful Switzerland — Tours Nov. 17
1853 Screen Snapshots No. 3 Nov. 24
1702 Millionaire Hobo — Phantasy Nov. 24
Paramount — One Reel
J8-6 Popular Science No. 6 — (10m.) Aug. 4
T8-11 Yip Yip Yippy— Betty Boop (6m.) Aug. 1 1
A8-12 Sweet Moments — Headliner (10m.) Aug. 1 1
V8-12 Breaking the News — Paragraphic (10m.) . .Aug. 25
(End of 1938-39 Season)
Beginning of 1939-40 Season
R9-1 Hydro-Maniacs— Sportlight (9m.) Sept. 1
K9-1 Ecuador — Color Cruise (9m.) Sept. 1
A9-1 Artie Shaw's Class in Swing — Headliner
(10 min.) Sept. 8
J9-1 Popular Science No. 1 — (10m.) Sept. 15
V9-1 Public Hobby Number One — Paragraphic
(I0y2 min.) Sept. 22
R9-2 A Desert Adventure— Sportlight (9%m.) ..Sept. 22
C9-1 The Fresh Vegetable Mystery— Clas. (7m.) .Sept. 29
D9-1 The Blue Danube Waltz— Sym. (9K>m.) ...Sept. 29
A9-2 Ted Fio Rito and His Orchestra—
Headliner (l0]/2 min.) Oct. 6
K9-2 Peru— Color Cruise (Sj/m.) Oct. 6
R9-3 Catching Whoppers— Sportlight (9j^m.) ...Oct. 13
L9-1 Unusual Occupations No. 1 Oct. 13
V9-2 Busy Little Bears— Paragraphic (9^m.) . . . .Oct. 20
A9-3 Moments of Charm of 1940— Headliner Oct. 27
D9-2 Merry Wives of Windsor— Sym. (8^m.) ..Oct. 27
R9-4 A Dog Is Born— Sportlight (9K-m.) Nov. 3
E9-1 Never Sock a Baby — Popeye (5j/<m.) Nov. 3
K9-2 Popular Science No. 2 Nov. 3
K9-3 Chile— Color Cruise Nov. 10
V9-3 Bits of Life— Paragraphic (10m.) Nov.17
L9-2 Unusual Occupations No. 2 Nov. 17
A9-4 Not Yet Titled— Headliner Nov. 24
R9-5 Aqua Rhythm— Sportlight (9#m.) Nov. 24
D9-3 William Tell— Symphonic Nov. 24
RKO — One Reel
94313 Kennel Kings — Sportscopc (9m.) Aug. 11
94613 Pack Trip— Reelism (9m.) Aug. 18
94118 The Autograph Hound— Disney (8m.) ....Sept. 1
(End of 1938-39 Season)
Beginning of 1939-40 Season
04301 Gun Play— Sportseope (9m.) Sept. 1
04201 Information Please— (11m.) Sept. 8
04601 Nevada Unlimited— Reelism (8m.) Sept. IS
04101 Officer Duck— Disney (8m.) Sept. 22
04302 Hunting Hounds — Sportscope (9m.) Sept. 23
04202 Information Please— (11m.) Oct. 6
04602 Acres of Plenty— Reelism (9m.) Oct. 13
04303 Ice Cutters— Sportscope (9m.) Oct. 27
04203 Information Please — (li)m.) Nov. 3
04603 American Royal— Reelism Nov. 10
RKO — Two Reels
93113 March of Time (18m.) Aug. 4
(End of 1938-39 Season)
Beginning of 1939-40 Season
03101 March of Time— (19m.) Sept. 1
03501 Cupid Rides the Range— Whitley (18m.). . .Sept. 8
03701 Wrong Ro m— Leon Errol (19m.) Sept. 22
03102 March of Time— (19m.) Sept. 29
03401 Act Your Age— E. Kennedy (18m.) Oct. 6
03201 Blamed for a Blonde— Atwell (16m.) Oct. 20
03103 March of Time— (18m.) Oct. 27
03702 Truth Aches— Leon Errol (19m.) Nov. 3
03202 Coat Tales— Jed Proutv (18m.) Nov. 17
03402 Kennedy the Great— E. Kennedy (19m.) ...Dec. 1
03502 Bandits & Ballads— Whitley (17m.) Dec. 29
0502
0401
0553
0102
0503
0202
0504
0103
0554
0302
0505
0402
0506
0602
0555
4261
4371
4351
4262
4372
4352
4373
4353
4263
4264
4374
4683
4684
4685
4223
4686
4m
4688
Twentieth Cent«ry-Fcx — One Reel
Sheep in the Meadow — Terry-Toon (7m.) .. Sept. 22
Monkeys Is the Cwaziest People — Lew Lehr
(10m.) Sept. 29
The Orphan Duck — Terry-Toon (7m.) Oct. 6
The Evergreen Empire — L. Thomas (11m.) . .Oct. 13
The Watchdog— Terry-Toon (7m.) Oct. 20
Filming the Fleet— Adv. News. Cam. (11m.) .Oct. 27
One Mouse in a Million (A Mouse and a
Million) — Terry- Toon (7m.) Nov. 3
The Aghileen Pinnacles — Father Hubbard
and Lowell Thomas (11 min.) Nov. 10
Wicky- Wacky Romance — Terry-Toon Nov. 17
Clocking the Jockeys — Sports (11m.) Nov. 24
The Hitch-Hiker — Terry-Toon Dec. 1
The Silly Season — Lew Lehr (10m.) Dec. 8
The Ice Pond — Terry-Toon Dec. 15
Fashion Forecast No. 6 Dec. 22
The First Robin — Terry-Toon Dec. 29
Universal — One Reel
Beginning of 1939-40 Season
A Haunting We Will Go— Cart. (7m.) Sept. 4
Stranger Than Fiction No. 66 — (8^2m.) Sept. 18
Going Places with Thomas No. 66— (9m.) .. Sept. 25
Life Begins with Andy Panda— Cart. (8^m.).Oct. 9
Stranger Than Fiction No. 67 — (9m.) Oct. 9
Going Places with Thomas No. 67 — (9m.) . . .Oct. 16
Stranger Than Fiction No. 68 — (9m.) Nov. 6
Going Places with Thomas No. 68 — (9m.) . .Nov. 13
Scrambled Eggs — Lantz Cartoon Nov. 20
The Sleeping Princess — Cartoon Dec. 4
Stranger Than Fiction No. 69 Dec. 4
. Universal — Two Reels
Crashing Towers— Phantom No. 3 (21m.) ..Oct. 31
Invisible Terror — Phantom No. 4 (21m.) ...Nov. 7
Thundering Rails — Phantom No. 5 (21m.) ..Nov. 14
Rhumba Land— Musical (18m.) Nov. 15
The Iron Monster — Phantom No. 6 (21m.) . .Nov. 21
The Menacing Mist— Phantom No. 7 (21m.) .Nov. 28
Trapped in Flames — Phantom No. 8 (19m.) . .Dec. 5
5603
5/02
5304
5305
5604
5402
5503
5306
5605
5307
5403
5308
5606
5309
5504
5102
5002
5104
5003
Vitaphone — One Reel
Naughty Neighbors — Looney Tunes (6m.). Oct. 7
Sword Fishing — Varieties (9m.) Oct. 21
Good Egg— Merrie Melodies (8m.) Oct. 21
Fresh Fish — Merrie Melodies (8m.) Nov. 4
Pied Piper Porky — Looney Tunes (7m.) ...Nov. 4
American Saddle Horses — Col. Par. (9m.) . .Nov. 11
Rubinoff & Orch.— Mel Masters (8m.) ....Nov. 11
Fagin's Freshmen — Mer. Melodies (8m.) ...Nov. 18
Porky the Giant Killer — Looney Tunes ....Nov. 18
Sniffles and Bookworm — Mer. Melodies Dec. 2
Mechanix Illustrated $2 — Col. Parade Dec. 2
Screwball Football — Mer. Melodies Dec. 16
The Film Fan — Looney Tunes Dec. 16
Curious Puppy — Merrie Melodies Dec. 30
Artie Shaw & Orch. — Melody Masters Dec. 30
Vitaphone — Two Reels
Ice Frolics — Bway. Brevities (18m.) Oct. 28
Royal Rodeo — Technicolor Nov. 25
World's Fair, Jr. — Bway. Brevities Dec. 9
Old Hickory — Technicolor Dec. 23
NEWS WEEKLY NEW YORK
RELEASE DATES
Universal Metrotone News
821 Wednesday ..Nov. 8 216 Thursday ...Nov. 9
£33 £l'ic!ay , ^,°V- J9 217 Tuesday .... Nov. 14
823 Wednesday ..Nov. lb 0,0 . XT
824 Friday . . . . . Nov. 17 218 1 ■ ■ • Nov- 16
825 Wednesday ..Nov. 22 2^ Tuesday ....Nov. 21
826 Friday Nov. 24 220 Thursday ...Nov. 23
l2l W?dnesdav • • Nov. 29 221 Tuesday .... Nov. 28
828 Friday Dec. 1 00.> ~, , XT
829 Wednesday . . Dec. 6 222 Thursday . . . Nov. 30
830 Friday Dec. 8 223 Tuesday .... Dec. 5
831 Wednesday ..Dec. 13 224 Thursday ...Dec. 7
%® F/Way ^ec. 15 225 Tuesday .... Dec. 12
833 Wednesday ..Dec. 20 „, , , .
834 Fridav ..... Dec. 22 226 Thursday . . . Dec. 14
835 Wednesday . . Dec. 27 227 Tuesday .... Dec. 19
836 Friday Dec. 29 228 Thursday ...Dec. 21
229 Tuesday Dec. 26
Fox Movietone 230 Thursday ...Dec. 28
17 Wednesday . .Nov. 8
18 Saturday Nov. 11
19 Wednesday . . Nov. 15
20 Saturday ....Nov. 18 Patho Nf»w«t
21 Wednesday . . Nov. 22 ratne IMews
22 Saturday ....Nov. 25 05218 Wed. (E.) . Sept. 20
23 Wednesday . . Nov. 29 05 1 19 Sat. ( O. ) . . Sept. 23
24 Saturday ....Dec. 2 05220 Wed. (E.) . Sept. 27
25 Wednseday ..Dec. 6 05121 Sat. (O.) . .Sept. 30
26 Saturday ....Dec. 9 05222 Wed. (E.).Oct. 4
27 Wednesday ..Dec. 13 05123 Sat. (0.)..Oct. 7
28 Saturday ....Dec. 16 05224 Wed. (E.). Oct. 11
29 Wednesday ..Dec. 20 05125 Sat. (O.).. Oct. 14
30 Saturday ....Dec. 23 05226 Wed. (E.). Oct. 18
31 Wednesday ..Dec. 27 05127 Sat. (O.).. Oct. 21
32 Saturday ....Dec. 30 05228 Wed. (E.). Oct. 25
05129 Sat. (O.).. Oct. 28
05230 Wred. (E.).Nov. 1
Paramount News 05131 Sat. (O.K.Nov 4
20 Wednesday ..Nov. 8 05232 Wed. (E.). Nov. 8
21 Saturday ....Nov. 11 05133 Sat. (O.) .. Nov. 11
22 Wednesday ..Nov. 15 05234 Wed (E.). Nov. 15
23 Saturday .... Nov. 18 05135 Sat. (O.) . . Nov. 18
24 Wednesday . . Nov. 22 05236 Wed. ( E.) . Nov. 22
25 Saturday .... Nov. 25 05137 Sat. (O.) . . Nov. 25
26 Wednesday ..Nov. 29 05238 Wed. (E.) .Nov. 29
27 Saturday ....Dec. 2 05139 Sat. (0.)..Dec. 2
28 Wednesday ..Dec. 6 05240 Wed. (E.).Dec. 6
29 Saturday ....Dec. 9 05141 Sat. (0.)..Dec. 9
30 Wednesday ..Dec. 13 05242 Wed. (E.). Dec. 13
31 Saturday ....Dec. 16 05143 Sat. (O.).. Dec. 16
32 Wednesday . . Dec. 20 05244 Wed. (E.) . Dec. 20
33 Saturday ....Dec. 23 05145 Sat. (O.).. Dec. 23
34 Wednesday ..Dec. 27 05246 Wed. (E.). Dec. 27
35 Saturday ....Dec. 30 05147 Sat. (O.).. Dec. 30
Entered as seoond-class matter January 4, 1021, at the post office at New York, New York, under the act of M«rch 3, 1879.
Yearly Subscription Rates:
United States $15.00
U. S. Insular Possessions. 16.50
Canada 16.50
Mexico, Cuba, Spain 16.50
Great Britain 15.75
Australia, New Zealand,
India, Europe, Asia 17.50
35c a Copy
on's Reports
1270 SIXTH AVENUE
Room 1812
New York, N. Y.
A Motion Picture Reviewing Service
Devoted Chiefly to the Interests of the Exhibitor*
Its Editorial Policy: No Problem Too Big for Its Editorial
CoiUmns, if It is to Benefit the Exhibitor.
Published Weekly by
Harrison's Reports, Inc.,
Publisher
P. S. HARRISON, Editor
Established July 1, 1919
Circle 7-4622
A REVIEWING SERVICE FREE FROM THE INFLUENCE OF FILM ADVERTISING
Vol. XXI SATURDAY, NOVEMBER 25, 1939 No. 47
A CHANCE FOR A NEW FAMILY SERIES
OF FEATURE PIC1URES
Because of the success the family series of fea-
ture pictures are making, the producers should not
let an opportunity for starting a new series of such
pictures be lost.
"Our Neighbors, the Carters," gives Paramount
an opportunity to start such a series, for it deals
with a lovable family, whose doings give the spec-
tator the same joys and sorrows as the characters
themselves feel. The cast is so good that Paramount
should retain it for the entire series. As a matter of
fact, this cast looks more like a family group than
the cast in any other of the family series.
Paramount might title the next picture, "The
Carters in Chicago"; it fits well with what "Our
Neighbors, the Carters," shows. It could show
"Bill" Hastings (Edmund Lowe) and Mrs. Hast-
ings (Genevieve Tobin ) inviting the Carters
(Frank Craven and Fay Bainter) to Chicago for a
two week vacation. "Dicky" Carter (Scotty Beck-
ett), the crippled child, may be shown as having
been cured by the specialist whom the Hastings,
unknown to the proud Carters, had sent at their
expense: the boy had to walk on crutches. There is
an opportunity to enrich such a picture with many
human interest episodes.
The next picture after that could be titled, "Tbe
Carters' Homecoming," in which the Carters could
be shown returning to their home town and being
received by the town folk in splendor. Such a story,
too, should furnish the authors with a chance for
human interest incidents.
Still another picture could show the Hastings
gone broke and invited to the old home town by
Doc Carter, who pawns everything he owned, to
raise whatever money he could to help "Bill"
Hastings come back. He might be even shown
interesting the town's skinflint banker in a loan.
There are a thousand ideas that the authors could
use to make such a series interesting as well as
appealing.
If you like the idea, urge your local Paramount
representative to recommend it to the Home Office ;
or you may express your own views to Mr. Neil
Agnew, General Sales Manager of Paramount,
1501 Broadway, New York City.
PICTURES IN PRODUCTION NOW
IN HOLLYWOOD
(Continued from last week)
Paramount
"Gulliver's Travels," a full-length cartoon fea-
ture in natural colors, with talk, music and sound
effects, produced by Fleischer, originator of the
"Out of the Inkwell" cartoon series: These imagi-
nary adventure tales were written by Jonathan
Swift, an Irishman, in 1726-27, while he was Dean
of St. Patrick's Cathedral, in Dublin. When they
were first published they struck the literary world
as being so new and so strange that, as Dr. Johnson
said, "they filled the reader with a mingled emotion
of merriment and amazement." They were read by
the lowly as well as by the highborn with relish.
The fame of the book reached such heights that, at
the suggestion of Voltaire, it was translated into the
French language, and since then it has been trans-
lated into almost every language on the globe.
The tale that has formed the basis of this cartoon
picture is the first, entitled, "A Voyage to the
Liiiiput" ; it shows the imaginary character Lemuel
Gulliver, supposedly an English sailor and adven-
turer, shipwrecked on the coast of Liiiiput, the in-
habitants of which country were of diminutive size
—so diminutive, in fact, that Gulliver appeared to
them as an amazing giant. The men did not exceed
six inches in height. As a matter of fact, everything
on the island — men, trees and animals, were of a
very small size.
Gulliver is found by the Lilliputians while asleep,
is bound by them, and carted away and taken before
the Emperor. But, after many adventures, he es-
capes and returns to England, there to tell of his
amazing experiences.
Of the portion of the feature that has already
been produced, two of the reels were shown to this
reviewer, but without either talk, music or sound
effects ; 'and yet the action seemed interesting ; it is
smooth — smoother, in fact, than the action in any
other cartoon produced, and the color is attractive.
Some of the lighting effects indicate the care with
which the picture has been produced. Undoubtedly
it will make a box-office success, not only because
of the merit of the production, but also because of
the fame of the book.
"The Road to Singapore," with Bing Crosby and
Dorothy Lamour. In the cast are Bob Hope, Judith
Barrett, Charles Coburn, Anthony Quinn, Johnny
Arthur and others. Harlan Thompson is produc-
ing, and Victor Schertzinger directing. Mr. Schert-
zinger is a fine director and should make a fine
Crosby picture. He has a musical training, and that
is what is needed by a director of the Crosby
pictures.
"The Biscuit Eater," with Billy Lee. Jack Moss
is producing, and Stuart Heisler directing. No
doubt it will turn out a good program picture, but
from the box office point of view it is good for a
double bill.
"Buck Benny Rides Again," with Jack Benny,
Ellen Drew, Andy Devine, Virginia Dale, Eddie
"Rochester" Anderson, Phil Harris and Kay Lin-
naker. Mark Sandrich is producing and directing.
It should turn out either a good or a very good
box-office picture.
(To be continued next week)
HARRISON'S REPORTS
^
November 25, 1939
"Blondie Brings Up Baby" with Penny
Singleton, Arthur Lake and Larry
Simms (Baby Dumpling)
(Columbia, November 9; running lime, o9 min.)
The first part is quite slow, and the hero's simple-
mindedness pretty exasperating, but these defects are more
than offset by the second half, where there is deep human
interest and fast action. The human interest is awakened
by a situation of "The Miracle Man" type — Baby Dumpling
is the cause of a crippled girl's getting up from her wheel
chair and walking; tne fast action is the result of the efforts
of two sets of parents, helped by the police, to find their two
Children, who had disappeared. The picture should fit well
on any double bill : —
While his boss (Jonathan Hale) was away, Arthur Lake
makes alterations in the plans of the apartment house they
were building for Robert Middlcmass without a written
approval and when Hale returns Middlemass refuses to
sign an acceptance for the alterations so as to escape from
an unfavorable contract. While waiting outside of the
school lor Baby Dumpling, Daisy, the boy's little dog, is
caught by the dog catcher ; later it is adopted by Peggy
Ann Garner, crippled daughter of Roy Gordon. Unable to
find Daisy, Baby Dumpling plays "hookey" from school
and, in his wanderings, comes upon Peggy and Daisy.
Daisy is naturally overjoyed to see Baby. VVhen Baby tells
Peggy that he would take Daisy away, she is sad, and
expresses her desire to be taken along to his home. Baby
wheels Peggy av/ay. In the front yard of Baby's home, Baby
persuades Peggy to leave her chair and to walk. While the
town is in a turmoil looking for the children, the parents of
both locate them playing in Arthur's home. Peggy's parents
are so overjoyed when they see their daughter walk that,
wb.cn Arthur shows them his model for a home where chil-
dren could have all the sunshine and all the playthings they
needed to make them happy, Gordon informs Hale that he
would finance the project. Thus Lake is reestablished in
Hale's confidence as a capable and ingenious executive.
The story is by Robert Chapin, Karen De Wolf, and
Richard Flounroy ; the screen piay, by Gladys Lehman and
Richard Flounroy. Frank B. Strayer directed it.
Suitability, Class A.
"Our Neighbors, the Carters" with Edmund
Lowe, Genevieve Tcbin, Frank Craven
and Fay Bainter
(Paramount, November 24; time, 83 min.)
This picture may not be glamorous, but it is the most
human interest story that Paramount has produced in ages.
It is a picture that deals with a small-town family, the mem-
bers of which are happy when things go well, but "take it"
like thoroughbreds when things don't go so well. The way
the characters conduct themselves in times of adversity is
inspiring. It shows the sacrifices the parents make for their
children. Old folk will enjoy it immensely, and young folk
should be made to see it so as to appreciate their parents'
sacrifices. One of the situations that will touch every spec-
tator's heartstrings is that which shows the little family
orchestra playing "I Love You Truly" as husband and wife,
on the day of their twentieth anniversary, are seen descend-
ing the stairway arm in arm. Another is where the father
and the youngest girl are at the station, waiting for the train
that would take the little girl to the Chicago wealthy friends
for adoption : as the train was approaching, the father
realized that she did not want to go : —
Frank Craven, father of five, conducted a drug store in a
small town. The representative of a chain drug store man
comes and offers to buv him out, but he refuses to sell.
Consequently, the chain leases the building for itself. Craven
opens a new drug store, but the chain store, by under-
selling Craven, puts him out of business in no time. Fay
Bainter, his wife, was in Chicago visiting Edmund Lowe
and Genevieve Tobin. their friends. Fay invites them to their
home town and in a few weeks they arrive. Lowe at first is
disconcerted because the house did not have the facilities
that he had in his home, but his association with the children
soon gives him so much pleasure that soon he forgets all
about the discomforts. They return to Chicago after having
had the best time of their lives. Edmund persuades the drug
store owner to sell the store back to Frank. At Genevieve's
suggestion, Edmund engages a famous specialist to go to the
little town to cure the youngest boy of his affliction — he
could not use his legs, Edmund sends his secretary to Fay
and Frank to persuade them to give up one of their children
to them for adoption, promising to do many things for the
family. At first Frank becomes incensed, hut Fay persuades
him to give the matter more thought for the sake of the
other children. They decide to give up their little girl. But
at the station, as the train was approaching, the little girl
begins to cry; she did not want to go away.
The story is by Rcnaud Hoffman ; the screen play, by
S. K. Lauren; Ralph Murphy directed it and Charles R.
Rogers produced it. Mary Thomas, Gloria Carter, Scotty
Beckett, Bcnnie Bartlett, and Donald Brenon are the five
Carter children. Nana Bryant, Thurston Hall, Granville
Bates, and others are in the supporting cast.
Class A — good for every member of the family.
"The Honeymoon's Over" with Stuart Erwin
and Marjorie Weaver
(20th Century-Vox, December 15 ; time, 70 min.)
Just a fair progiam domestic drama, which doesn't mean
much to the box office, but serves well for a double-bill
purpose. The action is fairly fast, but it is just so much old
Stuff. There is very little human interest in it: —
Stuart Erwin, one of the employees in Russcl Hicks'
advertising agency, marries Marjorie Weaver. They buy a
home and soon a high-powered salesman sells them a swank
car. Thinking that the Erwins were wealthy, Patric
Knowles, June Gale, E. E. Clive, Harrison Green and
Lclah Tyler, "spongers" by profession, attach themselves
to them and start Marjorie on one long round of drinking,
country-club frequenting, and of general gayety. The social
whirl makes Marjorie so reckless that she will not listen to
Stuart's warnings. On her way home from a drinking parly
in her car, Marjorie has an accident, and a threat for a suit
results. The matter is settled with an agreement by which
Stuart was to pay $7,500. He mortgages his home and,
when the money is not enough to make up the amount, he
usis some of the firm's money. As a result, his boss gives
him sixty days in which to pay, jail being the alternative.
Marjorie comes upon the holder of an invention for a bath
preparation. She takes it to a department store. One of the
conditions of the sale was that the Russcl Hicks firm was
to have a contract for the advertising. Thus Stuart re-
establishes himself in the graces of his boss, who not only
takes him back but also appoints him manager of the firm.
The plot has been founded on the William Anthony
McGuire play "Six Cylinder Love," which was produced
by Fox twice before, once in 1923, as a good silent, and once
in 1931. The 1931 version turned out no better than the
present version. The screen play is by Hamilton McFadden.
Eugene Forde directed it and Sol M. Wurtzel produced it.
Suitability, Class A for adults ; because of the drinking
scenes and the theft it may not be Class A for children, but
Class B.
"Missing Evidence" with Preston Foster
and Irene Hervey
( Universal, December 5 ; time, 64 min.)
A good program melodrama, with human interest and
pretty fast action. The theme is somewhat fresh, not having
been done to death ; it deals with the efforts of the Federal
Bureau of Investigation to track down the heads of a syn-
dicate printing and distributing counterfeit sweepstakes
tickets. It has been produced so well that the spectator's
interest is kept alive up to the end. The spectator is held in
pretty tense suspense at times, because of the danger to
which the lives of the hero and of the heroine are subjected.
The romance is pleasant : —
Preston Foster, agent for the Federal Bureau of Investi-
gation, is assigned to apprehend counterfeiters of sweep-
stakes tickets. Posing as an insurance salesman, he becomes
acquainted with Irene Hervey, whom he suspects as being
connected with the syndicate. Working for the cigar store
of a hotel, she did sell such tickets, but she thought they
were genuine. When she finds out that the hero was an
F.B.I, man she scorns him and refuses to give him any in-
formation ; but when a hotel employee commits suicide
after finding out that his ticket, which had the winning
number, was counterfeit, she and her friend, Chick Chand-
ler, call on the hero and offer their services toward track-
ing down and arresting the crooks. The two become em-
ployees of the gang and Foster opens a rival sweepstakes
business, forcing the gang to take him in. After many excit-
ing and dangerous experiences, the three are able to set all
the necessary information about the gang's activities.
Swooping down upon them, they arrest them all and con-
fiscate the printing apparatus. By this time Preston and
Irene are in love with each other.
The story is by Stuart and Dorrell McGowan ; the screen
play, by Arthur T. Horman. Phil Rosen directed it. Inez
Courtney, Noel Madison, and Ray Walker are some of
those in the supporting cast.
Class A for adolescents and adults ; but because it deals
with crooks, Class B for children.
November 25, 1939
HARRISON'S REPORTS
187
"Another Thin Man" with William Powell
and Myrna Lay
(MGM, November 24; time, I0iy2 min.)
Like the other two "Thin Man" pictures, this is very good
entertainment, for it combines comedy with murder-mystery
melodrama skilfully. But most important of all, it marks
the return of William Powell to the screen, which means
that his fans will probably flock to see him, particularly
since he is teamed with Myrna Loy. The story is somewhat
involved, but always interesting; as a matter of fact, the
disclosure of the murderer's identity will come as a surprise
to most spectators. There is plentiful comedy resulting from
the wisecracks by Powell and Miss Loy. And one is held in
suspense throughout, for Powell's life is endangered : —
Upon their arrival in New York, Powell and Miss Loy
receive a telephone call from her guardian (C. Aubrey
Smith), who suspected that his life was in danger, asking
them to come to his country home. Even though they dis-
liked the idea of the visit, they go there with their baby and
his nurse, and Asta the dog. Many mysterious things hap-
pen. Smith is murdered, and Powell's life is endangered.
Before he could collect his family together and leave, an-
other man is murdered. Powell decides to work on the case,
despite the dangers involved. And Miss Loy trails along,
not wanting to miss any of the excitement. Their investiga-
tion brings them in contact with many strange characters,
some of them dangerous. Eventually Powell solves the case
— he proves that the murders had been committed by
Smith's own daughter (Virginia Grey), who wanted her
father out of the way so that she could get her hands on her
inheritance of $5,000,000. She had been helped by a gang-
ster, with whom she was in love ; but she had killed even
the gangster, because she learned that he was in love with
another woman. Both Powell and Miss Loy are happy when
the case is closed.
Dashiell Hammett wrote the story, and Frances Good-
rich and Albert Hackett the screen play ; W. S. Van
Dyke, II, directed it, and Hunt Stromberg produced it. In
the cast are Otto Kruger, Ruth Hussey, Nat Pendleton,
Tom Neal, and others.
The murders make it unsuitable for children. Adolescent
and adult fare. Class B. .
"That's Right — You're Wrong" with
Kay Kyser, Adolphe Menjou
and May Robson
(RKO, November 24 ; time, 93 min.)
A good comedy with music. Considering the popularity
of Kay Kyser and his band, it has strong box-office possi-
bilities, particularly with the young crowd and his radio
fans ; they will probably get a "kick" out of seeing him
conduct his "College of Musical Knowledge" program,
which he does towards the end. No attempt is made to place
a heavy acting burden on Kyser's shoulders ; what he has to
do he does well, since the part requires that he be himself.
He is given good support by a competent cast of seasoned
actors. Although the plot is simple, it is a little different
and, for the most part, amusing. There is no romance : —
Moroni Olsen, head of a motion picture studio, decides to
make a picture starring Kay Kyser and his band. Kyser is
averse to going to Hollywood but, knowing that the mem-
bers of his band would be disappointed if he turned down
the offer, he signs the contract and leaves for Hollywood
with the band. Adolphe Menjou is put in charge of the
picture production and assigns two writers (Edward
Everett Horton and Hobart Cavanaugh) to do the screen
play. Not knowing what Kyser looked like, they write a
romantic story; when they finally meet him they are
shocked, for he was definitely not the romantic type. Menjou
is at his wit's end. To make Kyser break the contract as
the only way he could get rid of the assignment, he informs
him that he would give the leading part to another girl than
to Ginny Simms, of the band. But the two writers put Kyser
wise to Menjou's scheme. By pretending that he wanted to
play the romantic part, Kyser turns the tables on Menjou.
The tests are so bad that Menjou pleads with Kyser to
release the company from the contract, offering to pay him
in full. Kyser accepts the offer. He and the members of the
band go back to their radio work, cured of any desire to
make motion pictures. Menjou is berated by Olsen for
having missed a good bet.
William Conselman and James V. Kern wrote the screen
nlav. David Puller directed and produced it. In the cast arc
Lucille Ball, Dennis O'Kcefe, Roscoe Karns, and others.
Suitability, Class A.
"Fugitive at Large" with Jack Holt
(Columbia, December 7; time, 63 min.)
This program gangster melodrama, in which Jack Holt
plays a dual role, is suitable mostly for the Holt fans and
for those who enjoy wild melodramas, regardless of plausi-
bility of plot. Discriminating audiences will, however, find
that the production is rather cheap, and the story a rehash
of former plots. There is some suspense in one or two situa-
tions ; the situation showing Holt escaping from the chain
gang is probably the most exciting : —
Holt, an engineer, who had spent most of his time in
South America, arrives in the United States to start work
on a new project. Two dishwashers at the camp (Stanley
Fields and' Arthur Hohl), who were gangsters hiding out
from the police, are amazed at the remarkable resemblance
between Holt and their gangster chief (also played by
Hclt). Knowing that the police were looking for the gang-
ster chief, they send word to him to come to the camp.
When he arrives, they plan to steal the payroll and shift
the blame on Holt, the engineer. Things work out as they
had planned : the engineer is arrested, identified as the
gangster, and sentenced to twenty years on the chain gang.
With the help of another prisoner, he escapes from the
chain gang. The police finally find and arrest him. Again
they refuse to listen to his pleas of innocence. But when
word reaches them that a bank had been held up and that
the teller had identified the chief as Holt, the gangster, they
realize that the engineer had been telling the truth. Work-
ing with two men from the F.B.I., Holt finally locates the
gangster through his wife (Patricia Ellis) who, at the
engineer's trial, had framed a story against him, pretending
that he was really the gangster. The gangster is killed by
the federal men when he tries to escape. The engineer's
name is cleared and he returns to his work.
Eric Taylor wrote the story, and he and Harvey Gates,
the screen play; Lewis D. Collins directed it, and I^arry
Darmour produced it. In the cast are Guinn Williams, Cy
Kendall, Weldon Heyburn, and others.
Not for children or adolescents. Adult fare. Class B.
"Day-Time Wife" with Tyrone Power,
Linda Darnell and Warren William
(20/^ Century-Fox, November 24; time, 71 min.)
This marital comedy is light, sophisticated fare. The
theme and the lavishncss of production make it suitable for
class audiences. But Tyrone Power's name should bring in
the masses as well. The plot is not new — it is a rehash of
the old triangle theme. Occasionally it is amusing, because
of witty dialogue and comical situations. And it holds one
in fair suspense, since the spectator knows that the hero
will eventually be confronted by his wife and made to
confess. The performances are engaging : —
Knowing that her husband (Tyrone Power) was neglect-
ing her for his pretty secretary (Wendy Barrie), Linda
Darnell decides to do something about it. Unknown to
Power, she obtains a position as secretary to Warren
William, her purpose being to find out why men preferred
secretaries to wives. She is nervous when she learns that
Power had business deals with William ; each time Power
comes to the office she has to hide. William begins paying
marked attention to her, and invites her out. When she
questions him about his wife, he tells her that he U*ved her
but that he liked a change. Angry when Power breaks
another date with her, Miss .Darnell accepts William's
invitation to accompany him with "another couple" to a
night club. Although she is amused when the couple turn
out to be Power and his secretary, he is shocked. Neither
one reveals the fact that they were married. They go to
William's penthouse apartment, where Power tries to con-
vince Miss Darnell that he had made the appointment with
William merely for the purpose of getting him to sign an
important contract. When William's wife pays an unex-
pected call. Miss Darnell passes the matter off by explain-
ing that she was Power's wife, and that the visit was purely
a business one. Power takes advantage of the situation by
compelling William to sign the contract. William, thinking
that Miss Darnell had done quick thinking, is amused, not
knowing she had told the truth. Miss Darnell insists that
Miss Barrie and Power spend the night at her apartment.
Miss Barrie overhears Power talking to Miss Darnell in
her bedroom; thinking he had thrown her over for Miss
Darnell she leaves in disgust. Husband and wife arc
reconciled.
Rex Taylor wrote the story, and Art Arthur and Robert
Harari, the screen play. Gregory Ratoff directed it. and
Raymond Griffith produced it. In the cast arc Binnie
Barnes, Joan Davis, Leonid Kinsky, and others.
Not for children. Adolescent and adult fare. Class B.
HARRISON'S REPORTS
November 25, 1939
THE CASE OF 20th CENTURY-FOX'S
"THE BLUE BIRD"
On November 6, Herman Wobber, general man-
ager of Twentieth Century-Fox, announced that
his company lias withdrawn Maeterlinck's "The
Blue Bird" from the 1939-40 season's release sched-
ule for the purpose of roadshow jng it on a national
basis. In its place, it has offered to the exhibitors
"Everything Happens At Night," with Sonja
Henie.
As every one of you no doubt knows, "The Blue
Bird" has been produced in natural colors, with
Shirley Temple in the leading role. It was originally
scheduled for release on Christmas week.
On the occasion of this announcement, the No-
vember 11 issue of Mortensen's Amusements, pub-
lished in Minneapolis, comments as follows :
"Demand for a new deal from 20th-Fox 'all the
way down the line,' was made by Minneapolis in-
dependent showmen this week as their reaction to
plan of 20th-Fox to pull Shirley Temple's 'The
Blue Bird' out of the program for roadshowing.
Exhibitors feel that the move is 'one ot those last
ones,' designed to forestall cancellations on this and
other Temple films.
"While agreeing pretty generally that Shirley is
'all washed up,' so far as draw is concerned, twin
city independents say that the roadshowing plan is
'a gag to try and make us squawk for the picture.'
This view was emphasized by W. A. Steffes, who
said that, contrary to squawking, exhibitors should
give a vote of thanks to 20th-Fox for removing
from the program a picture that 'probably would go
the way of the other Temples, in rating only Satur-
day matinee or "weak day" of showing.
" 'What exhibitor would be sappy enough to
play a Temple picture as a roadshow ?' Steffes de-
manded. 'Most exhibitors don't want her as a gift..
She was washed up two years ago, but the momen-
tum of her earlier successes carried her along and
helped delude the exhibitors into the hope that she
could stage a comeback. 20th-Fox probably will
put a big campaign behind " The Blue Bird'' in a
number of spots, in the hope that it will do business,
thus taking the heat off top bracket allocation of
Temple pictures.
" 'This Shirley Temple matter is indicative of
the "wrong attitude" pursued by 20th-Fox in deal-
ing with exhibitors of this section. The company
has been a flagrant offender in the matter of excess
rental demands, and also has been a thorn in our
side in the matter of switching picture allocations.
" 'We want a new deal from 20th-Fox, based
upon Company President S. R. Kent's declaration
that the little fellow is entitled to the break. W e're
tired of dealing with distribution executives who
think they have to be hard to get by. The live and
let live policy enunciated by President Kent is
being thrown overboard by the machinations of his
field men, in this territory at least.' ..."
It is difficult to ascertain whether Twentieth
Centurv-Fox will or will not deliver to the exhibi-
tors this picture under their 1939-40 season's con-
tracts after the roadshowing of it is ended — the
roadshow provision stipulates that it must be deliv-
ered ; but, in view of the fact that the contract does
not describe the pictures that are to be delivered,
such contract, so far as the roadshow provision is
concerned, is worthless: Twentieth Century-Fox
may deliver to you any pictures it sees fit, and allo-
cate it to suit their own convenience. Such are the
contracts of all other major picture companies, for
that matter.
In the issue of October 7, under the heading,
"Hopeless Remakes," I informed you that "The
Blue Bird'' was produced once before, by Para-
mount, in 1918, and although it turned out a highly
artistic picture it made an artistic "flop" at the box
office ; but because the present picture has been pro-
duced in technicolor, and because this time the
characters talk, the public may give it a better
reception than it gave the silent, black-and-white,
version. And the roadshowing cannot help creating
among some other than Shirley Temple followers
a desire to see it. The only difference, so far as
you are concerned, is the fact that you have not
been told whether you will get it or not under your
contract after the roadshowing is completed.
IRVIPIG'S "LEGEND OF SLEEPY
HOLLOW" IN PICTURES
United Artists announced last month that
Edward Small will produce Washington Irving's
"Legend of Sleepy Hollow."
It is hard to tell what Mr. Small saw in this story,
for although it is a classic it is hardly suitable for
picture purposes. To begin with, it is a legendary
story, in which a ghost legend plays a prominent
part. Then again, it is a period play, unfolding in
the days when the Dutch were the settlers of these
regions.
The story unfolds in and near Tarrytown, New
York, and tehs about the trick a rival in love played
on a poor school teacher, who schemed to capture
as a wife the daughter of a well-to-do Dutch
farmer ; the rival, wanting to make him stop paying
attention to the girl, impersonates the headless
horseman of legend and, waylaying him by a brook,
frightens him so badly that he disappears. Some
folk said that the headless horseman got him, but
the girl smiled, "knowingly."
THE PRODUCERS' FONDNESS
FOR REMAKES
Warner Bros, has announced that it has decided
to produce "Disraeli."
Most of you know, I am sure, that "Disraeli" has
already been produced twice : United Artists made
it in 1921, and Warner Bros, themselves in 1929 —
both times with George Arliss in the leading role.
Neither of the versions created a box-office sensa-
tion, even though both pictures turned out good.
I don't know what has prompted Warner Bros,
to decide to produce it again ; the story is not power-
ful enough to deserve third remaking. Perhaps this
company's executives have decided to remake it for
some English "quota" reason. If so, they are doing
an injustice to the American exhibitors. Their meal
ticket is not the foreign market ; it is the American
market, and it behooves Warner Bros, and every
other major company to pay a little more attention
to it. They should have some regard for the inter-
ests of those who sign their contracts on the theory
that companies with so high a reputation can do no
wrong ; they are breaking faith with them.
INDIANA EXHIBITORS AGAINST
16mm. FILMS
The Indiana exhibitors do not mind if the pro-
ducers permit the reduction of their films to 16mm.
size provided they permit the showing of them only
in homes, but when they permit such showing in
regular theatres, no matter even if they are non-
theatrical, they offer strenuous objection, because,
as they said in a resolution at their convention, it
does the regular theatres harm.
Entered as second-class matter January 4, 1921, at the post office at New York, New York, under the aet of March 8, 1679.
Harrison's Reports
Yearly Subscription Rates: 1270 SIXTH AVENUE Published Weekly by
United States $15.00 p , al « Harrison's Reports, Inc.,
U. S. Insular Possessions. 16.50 KCOm 101iS Publisher
Canada 16.50 New York, N. Y. P. S. HARRISON, Editor
Mexico, Cuba, Spain 18.50 . ,_ _ _. . _ . _ .
Great Britain 15.75 A Motion Picture Reviewing Service . „„
Australia, New Zealand, Devoted Chiefly to the Interests of the Exhibitors Established July 1, 1919
India, Europe, Asia .... 17.50
t^r* rv,rw Its Editorial Policy: No Problem Too Bis for Its Editorial Circle 7-4622
aoc a ^opy Columns, if It is to Benefit the Exhibitor.
A REVIEWING SERVICE FREE FROM THE INFLUENCE OF FILM ADVERTISING
Vol. XXI SATURDAY, DECEMBER 2, 1939 No. 43
WILL THE EXHIBITORS ALLOW THIS
PRECEDENT TO BE ESTABLISHED?
Metro-Goldwyn-Mayer has decided to charge
70% of the gross receipts for "Gone With the
Wind," but to those exhibitors who want the film
but who fear to agree to so exorbitant a percentage
rate lest it prove too much for them MGM is will-
ing to guarantee a 10% profit above the average
that their theatres have made with big films.
Since the picture has not yet been shown to the
reviewers it is hardly possible for any one not
closely connected with either the MGM or the Selz-
nick- International organization to say whether the
picture is or is not entitled to so high a percentage ;
but let us assume that it fully deserves it, can the
exhibitors afford to establish a 70% precedent?
Wouldn't other distributors try to get the same
percentage, or as near to it as possible, with films
not so meritorious ? Remember that, if "Gone With
the Wind" should prove an unprecedented box-
office success, to the film salesmen of other com-
panies every one of their big films would be a
"Gone With the Wind."
Since this matter is of grave importance to every
exhibitor, a thorough discussion of what may hap-
pen afterwards if you should accept the 70% rate
is in order. You are invited to express your views
on this matter. Remember that the question is,
not whether MGM is or is not entitled to charge
70% of the gross receipts for this picture, which
has unduuntedly cost a fortune to produce, but
whether it is wise for you to allow any producer-
distributor to establish a precedent for a percentage
rate that has never yet been charged for any other
film, 50% being the highest that has ever been
charged, on extremely rare occasions.
A CONUNDRUM!
Early last month, Darryl Zanuck, head of the
Twentieth Century-Fox studio, sent a letter to
Simon Fabian, head of the Fabian circuit, operat-
ing theatres in the states of New York and of New
Jersey, criticizing him for pulling "Drums Along
the Mohawk" out of his Proctor's Theatre, at
Schenectady, N. Y., while the picture was still
making money, and asking his, as well as every
other exhibitor's, cooperation in giving meritori-
ous films a longer run.
lie asks such a cooperation, he says, not only
because the revenue from the foreign market has
been reduced, but also because the cost of produc-
tion is now double what it was eighteen months
ago. If the exhibitors, he says, "do not realize these
•v ery important matters and do not prepare to do
their share in encouraging and aiding us of the
studios, then it is going to be a very sorry day for
the exhibitors of America.
"If the producers find that they cannot at least
break even, then naturally, they cannot be expected
to take the fabulous financial gambles that they
are forced to take today. ..."
Mr. Zanuck is right in his suggestion that meri-
torious pictures should be given a longer run — as
long as a picture can pull people in ; but here is the
rub : when a meritorious picture is given a run
longer than is usually the case, a theatre's available
playing time is reduced ; and if the longer-run sug-
gestion of Mr. Zanuck's is intended to apply to the
meritorious films also of every other producer, such
time will be reduced still more — and considerably
so. What will, then, happen to the "B," "C," and
"D" class of pictures which the exhibitor has under
contract, and for which he will have no available
time? Will Mr. Zanuck and every other producer
make a provision for the elimination of these pic-
tures without payment ?
If the major producers should make such a
provision for the purpose of getting the benefit of
the longer runs, why waste money for the produc-
tion of them? And if they should find it necessary
to stop making this type of pictures so as to give
the longer-run of meritorious pictures full play,
why retain the block-booking system ?
No, Mr. Zanuck ! The problem of aiding the pro-
ducer to obtain greater revenue for his meritorious
pictures cannot be solved permanently by extend-
ing the run of the good pictures alone ; elimination
of block-booking and blind-selling is essential be-
fore extended runs may benefit producer, distribu-
tor and exhibitor alike, for, with block-booking and
blind-selling eliminated, each picture will have to
stand on its own merit. If a picture has merit, the
producer will not have to plead with the exhibitor
to keep it on the board as long a time as the pic-
ture will stand ; the exhibitor will find it beneficial
to his interests to do so without a plea from the
producer. And the box-office should be able to tell
which of the pictures have merit.
Does Mr. Zanuck fear to subject his pictures to
the box-office test without the shackles of block-
booking and blind-selling?
METRO-GOLDWYN-MAYER IS
RENDERING A SERVICE
TO THE PUBLIC
When it comes to passing instructive informa-
tion to the public, no better medium can be em-
ployed than motion pictures, for the motion picture
impresses itself on the mind much more deeply
than docs the picture of the image that is repre-
sented either by the written or the spoken word.
The reason for it is the fact that, when either a
written or a spoken word is employed, the mind
(Continued on last page)
190
HARRISON'S REPORTS
December 2, 1939
"Tower of London" wifch Basil Rathbone
and Bori3 Karlofr
(Universal, November 17; time, 91 min.)
Supposedly based on historical facts, this court melo-
drama depicts a period in British royal history that was
bloody and horrifying. Its appeal should be directed to those
who enjoy stones oi court intrigue coupled with horror
melodrama. The production is extremely lavish and realis-
tic in cvci y detan. But it is not particularly cheerful enter-
tainment, since the action centers mainly around a character
whose diabolical scheming to gain the throne of England
results in brutal murders, and who docs not stop even where
brotliers and nepnews are concerned. Boris Karloff, as the
royal executioner, chills one by his appearance and actions.
Vvith the exception of two characters who supply the
romantic interest, one feels little sympathy for the others,
for most of them are engaged in intrigue. But, as in most
pictures of this type, one is held in suspense, not knowing
on whom the ax will next fall : —
King Edward IV (.Ian Hunter) permits himself to be
influenced by his brother Richard (Basil Ra:hbonc), a
cruel, ruthless schemer. Displeased because John Wyatt
(John Sutton) had shown sympathy for a cousin on h;s
execution day, Richard, knowing that Wyatt was in love
with Lady Alice Barton (Nan Grey), the Queen's lady-in-
waiting, suggests to the King that he match Wyatt with an
elderly dowager. When Wyatt refuses to marry the King's
choice, he is imprisoned in the Tower, ruled over by Mord
(Boris Karloff), chief executioner. Wyatt is later secretly
released and sent to France. Richard, who loved Anne
Neville (Rose Hobart), and despised her husband, the
Prince of Wales, whose father, Henry VI, was kept a
prisoner by him, engages in a battle with the Prince and his
men and personally kills the Prince. Richard, helped by
his brother, the King, wins Anne's sympathy and gains her
consent to their marriage. Working towards his goal to
become King, Richard, with the help of Mord, kills his
elder brother Clarence (Vincent Prince). When King Ed-
ward dies six years later. Richard, under the guise of
guardian to the boy King, gains control of the country.
Knowing Richard's ruthlessness, the Queen induces Wyatt,
who had returned from France, to steal the King's treasure
so as to help exiled Henry Tudor (Ralph Forbes) to fight
Richard. Wyatt is captured and, although tortured, refuses
to divulge the hiding place of the treasure. Richard kills the
boy King and his brother and pronounces himself King.
Alice helps Wyatt to escape. He carries the treasure to
Tudor, who collects an Army and marches on England.
Richard and Mord are both killed in battle and Tudor is
made King. Wyatt and Lady Alice are finally married.
Robert N. Lee wrcte the screen play, and Rowland V.
Lee directed and produced it. In the cast are Barbara
O'Neill, Leo G. Carroll. Miles Mandsr, and others.
The murders make it unsuitable for children. All right
for adults and adolescents. Class B.
"Heroes in Blue" with Dick Purcell,
Bern^dene Hfyes and Edward Kean
(Monogram, November 7; time, 59 min.)
Just a fair formula melodrama of program grade, revolv-
ing around policemen and crooks. There is some human
interest, and the action is fairly fast. There is also a
romance : —
Charles Quigley, brother of Dick Purcell, a rising
young policeman, is put on the spot by Edward Kean, head
of a gang of crooks, when he failed to nla^e the monev Kean
had given him on a horse of his (Kean's) choosing ; he
placed it on another horse, which lost the race. There is a
scuffle between Quigley and the crook whom Kean had
detailed to watch him, and the crook is killed by another
crook. Purcell is detailed to catch him. Their mother be-
comes ill and Purcell arrests his brother while visiting their
mother in the hospital. Their father, a nightwatchman,
makes a deal with Kean whereby he would "look the
other way" while Kean's men were robbing the warehouse
he was guarding. Purcell is wounded =°verely ir> an en-
counter with the crooks and the father feels keenly about
it. When Purcell is well, he follows the crooks and catches
them robbing the warehouse his father had been guarding.
Father and son turn against the crooks and they fight it
out with them. Kean is wounded fatallv and, before exnir-
incr. makes a confession that clears Quigley. Purcell is
promoted and. with the additional income, feels that he can
marry Tulie Warren, whom he loved. Quiedey. now a re-
spectable citizen, is accepted by Bernadene Hayes.
The screen play is by C. B. Williams; the direction, by
William Watsoa T. R. Williams produced it.
Suitability, Class B.
"The Secret of Dr. Kildare" with
Lew Ayres, Lionel Barrymore
ana Laraine Day
(MGM, November 24; time, 84 min.)
This third in the series of "Dr. Kildare" pictures is just
as engrossing, well-acted, and expertly produced as the first
two pictures. It is the type of entertainment that has strong
mass appeal, not only because of its human qualities, but
also because it presents the subject of medicine in a way
that is easily understandable to the layman. The characters
are all so sympathetic that one becomes engrossed in their
activities, whether it concerns their private affairs or their
professional duties. As in the other pictures, the romance
is of secondary importance : —
Lionel Barrymore and Lew Ayres, his assistant, both
doctors, work day and night on a new cure for pneumonia.
Although exhausted, Barrymore refuses to rest even though
he had been warned by his hospital associates to do so.
Through Barrymore, Ayres becomes acquainted with Lionel
Atwill, a millionaire, who was worried about his daughter
(Helen Gilbert) ; she had been acting queerly, refusing to
tell her father what was troubling her. Ayres becomes very
much interested in her case. In the meantime, knowing that
Barrymore could not continue with his research work unless
he assisted him, Ayres pretends that he no longer cared to
devote his time to research ; he would take Atwill's daugh-
ter's case as a means of getting ahead. Barrymore, dis-
gusted, goes away on a vacation. Miss Gilbert's case be-
comes quite involved; she goes blind. Ayres, realizing that
she was under the influence of her old nurse (Sara Hadcn)
and of a fake healer (Grant Mitchell), who were trying to
make her believe that she was suffering from a brain tumor
similar to the kind her mother died from, asks Barrymore's
help. Barrymore refuses but, during a lecture attended by
Ayres, he refers subtly to a similar case — of a woman who
had lost her power of speech — pointing out that, by pretend-
ing to have operated on the woman, he had brought her
back to a normal state. Ayres takes the hint, employs the
same method, and effects a complete cure. Barrymore,
having found out why Ayres had resigned, takes him back ;
they start their research work again. Ayres is forgiven by
Laraine Day, a nurse with whom he was in love ; she, too,
had misunderstood his actions.
Max Brand wrote the story, and Willis Goldbeck and
Harry Ruskin, the screen play ; Harold S. Bucquet directed
it. In the cast are Nat Pendleton, Samuel S. Hinds, Emma
Dunn, Walter Kingsford, and others.
Suitability, Class A.
"The Amazing Mr. Williams" with
Melvyn Douglas and Joan Blondell
(Columbia, November 23 ; time, 85 min.)
A very good combination of melodrama and comedy. The
action not only moves at a fast pace, holding one in suspense
throughout, but it is developed logically and in an inter-
esting manner. Melvyn Douglas and Joan Blondell again
prove that they make an excellent team ; they handle both
the comedy and dramatic moments in a believable and
engaging way : —
Joan Blondell, secretary to the Mayor, and Melvyn
Douedps. detective on the polic~ force, love each other but
are seldom together because of the demands made upon
Douglas, an ace detective. Miss Blondell tries to use tricks
to get him to resign, but they won't work. When she learns
that Douglas, dressed in woman's clothes, had taken on the
dangerous job of tracking down a phantom murderer who
had been attacking women, she rushes to the alley where
she knew he was stationed. The murderer appears and hits
her. Douglas sees the incident, rushes to her rescue and
captures the man. Miss Blondell is taken to the hospital.
She pretends to be very ill, thus winning Douglas' sym-
pathy. He promises to resign, and sets the wedding date.
On the day of the wedding, the police chief inveigles him
into another case — a bank robbery and murder. By the time
he shows up Miss Blondell refuses to have anything to do
with him. Thinking he had solved the case, he arrests John
Wray as the murderer, only to find, after the trial, that
Wray was not guilty. Instead of taking Wray to prison, he
hides him. Consequently, the police chief issues orders for
his arrest. It is then that Miss Blondell comes to his rescue;
she helps him trap the real murderer, for which act she is
made a deputy. She and Douglas marry.
Sy Bartlett wrote the story, and he, Dwight Tavlor. and
Richard Maibaum, the screen play ; Alexander Hall di-
rected it, and Everett Riskin produced it. In the cast are
Clarence Kolb, Ruth Donnelly, Edward S. Brophy, Donald
MacBrid". and others.
Suitability, Class A.
December 2, 1939
HARRISON'S REPORTS
191
"The Return of Dr. X" with Wayne Morris,
Rosemary Lane, Dennis Morgan
and Humphrey Bogart
(First National, December 2; time, 61 min.)
A gruesome horror melodrama. Children will have night-
mares after seeing it, and adults, particularly women, will
feel sickened by the subject matter. An effort is made to
inject comedy into the story, but somehow it doesn't help
matters much. Not only is the story unpleasant, but the
makeup of two characters, supposedly dead persons who
had been brought back to life by an injection of blood taken
from humans, sends shivers down one's spine. Yet persons
with a morbid streak in their makeup may enjoy it. The
closing scenes hold one in some suspense, even though the
outcome is obvious. There is a romance : —
When Wayne Morris, a newspaper reporter, arrives at
the apartment of Lya Lys, an actress, to obtain an inter-
view, he finds her dead. He telephones the news to his
editor, and he rushes out an extra before notifying the
police. But by the time the police arrive there is no body,
and Morris and his newspaper are held up to ridicule. To
Morris' amazement, Miss Lys turns up the next day, threat-
ening to sue the newspaper. As a result, the editor dis-
charges Morris. But Morris feels that something was
wrong. Enlisting the aid of Dennis Morgan, a doctor
friend, Morris follows Morgan on an emergency call. The
victim turns out to be a former hospital blood donor.
Morris is struck by the fact that the man's face was pecu-
liarly white, the pallor he saw on Miss Lys' face when he
saw her lying on the floor, presumably dead. Morgan then
becomes interested in the case. Investigations lead Morris
and Morgan to John Litel, an eminent surgeon and au-
thority on blood diseases. They notice that his assistant
(Humphrey Bogart) had on his face the same pallor. On
checking up newspaper files, Morris discovers that Bogart,
a former doctor, had been electrocuted on a murder charge.
When they confront Litel, he confesses that he had brought
Bogart back to life by injecting in him bicod taken from a
person with a similar type blood, and that since then
Boga t had killed many persons having a similar type
blood in order to keep alive. Bogart kills Litel and takes
from him the list of names of those who possessed similar
type blood to his. His first victim is Rosemary Lane,
Morgan's sweetheart. He takes her to his hideout ; but
Morris and Morgan arrive in time to save Miss Lane.
Bogart is killed by the police. Morris is reinstated on his
paper.
William J. Makin wrote the story, and Lee Katz, the
screen play; Vincent Sherman directed it.
Not for children. Suitable for adolescents and adults.
Class B.
"Geronimo" with Preston Foster,
Ellen Drew and Andy Devine
(Paramount, Rel. not set; time, 89 min.)
This historical action melodrama offers good mass enter-
tainment. The battle scenes between the Indians, headed by
Geronimo, and the United States soldiers are fierce enough
to satisfy the most ardent followers of outdoor action pic-
tures ; but women may think them a bit too strong. Al-
though the romantic interest has been minimized, the story
is not lacking in human appeal ; the conflict between father
and son, with eventual reconciliation between them, supplies
the human interest : —
With the aid he receives from unscrupulous politicians
healed by Rufus Gillespie (Gene Lockhart), Geronimo
(Chief Thunder Cloud), chief Apache Indian leader, carries
on relentless warfare against the whites. General Steele
(Ralph Morgan) is sent by President Grant to subdue the
Indians and make the country safe for settlers. The General,
a stern soldier who had years before given up his wife and
child in order to devote all his time to the Army, is shocked
when he learns that his grown son, Lt. John Steele (Wil-
liam Henry) had been assigned to his regiment. The Gen-
eral sends Captain Starrett (Preston Foster) and Sneezer
(Andy Devine), a scout, to try to make peace with Geron-
imo. Instead, they return with what was left of a group of
California-bound settlers who had been attacked by Geron-
imo. Lt. Steele, annoyed at his father's coldness and refusal
to permit him to undertake dangerous missions, decides to
resign and to join the settlers on their way to California.
He sends for his mother (Marjorie Gateson) and his
fmcee (Ellen Drew). When his father hears this, he is
enraged; he realized the danger to the two women. He
orders Starrett to meet the coach bringing the ladies, but
the Lieutenant, who had been put under arrest for insubor-
dination and who had been released by Starrett, rushes there
first. By the time he and Starrett arrive, they find the
mother dead and the fiancee wounded, both victims of
Geronimo. Crazed by the loss, the Lieutenant sets out to
kill Geronimo himself. Starrett goes after him, and both
are captured by the Indians. The Captain, saddened by what
had happened, sets out with a rescue party. He succeeds
in releasing his son and Starrett. Knowing that they would
all be killed if they did not receive aid, Starrett induces the
General to permit him and young Steele to go for aid.
Starrett is killed; but Steele gets through and comes back
with reinforcements. Geronimo is finally taken. Father and
sen become reconciled, much to the joy of the young son's
fiancee, who had recovered.
Paul H. Sloane wrote the screen play and directed it. In
the cast are Kitty Kelly, Monte Blue, Pierre Watkin,
Addison Richards, and others.
Suitability, Class A.
"Charlie Chan in City in Darkness"
with Sidney Toler, Lynn Bari
and Harold Huber
(2Qth Century-Fox, December 1 ; time, 75 min.)
Just moderately entertaining. For a murder-mystery
melodrama, it is surprisingly lacking in interest and sus-
pense. This is due to the fact that the story is far-fetched ;
there is also an over-abundance of dialogue, and the plot's
dramatic strrcture is weakened by the comic actions of a
scatter-brained detective, a part that is actually burlesqued
by Harold Huber. Followers of this type of melodrama
may, however, enjoy it, since the murderer's identity is not
divulged until the end : —
Sidney Toler (Charlie Chan), a guest of the Paris police,
finds it difficult to obtain passage home because of the war
scare during the Munich crisis. While the police chief was
absent from his office, Harold Huber, an excitable, some-
what silly, young man, who was studying police methods in
Paris under the guidance of the police chief, a friend of his
father's, receives word that Douglas Dumbrille, a promi-
nent millionaire, had been murdered. Huber, frightened at
the prospect of handling a murder case, pleads with Toler
to help him out. Toler is hampered in his work by Huber,
who wants to arrest every suspicious character. Toler in-
vestigates and finally solves the case by proving that
Dumbrille had been mixed up with a foreign group to whom
he had been selling ammunition ; further, that he had been
killed by his butler ( Pedro de Cordoba), a patriotic French-
man, because he had discovered the treasonable acts. This
Hears Lynn Bari and her husband (Richard Clarke), Dum-
brille's secretary. Dumbrille had tried to frame Clarke on
an embezzlement charge, because Clarke had objected to
his attentions to Miss Bari. When Toler is informed that
war had l>een averted, he prepares to leave for home.
Gina Kaus and Ladislaus Fodor wrote the story, and
Robert Ellis and Helen Logan, the screen play ; Herbert I.
Leeds directed it, and John Stone produced it. In the cast
are Dorothy Tree, C. Henry Gordon, Noel Madison, Leo
Carroll, Lon Chancy, Jr., and others.
Suitability, because of the murder, Class B.
"Danger Flight" with John Trent
(Monor/ram, November 1 ; time, 60 min.)
Children will probably enjoy this melodrama centering
around the activities of "Tailspin Tommy." The story is a
little too far-fetched for adults. It has plentiful fast action
and, towards the end, becomes pretty exciting; but it is of
the type that should excite young spectators.
This time "Tailspin Tommy" (John Trent) is interested
in a group of young boys who had formed a club to learn
the rudiments of flying. All their work naturally takes place
on the ground. At first one of the boys (Tommy Baker)
in the neighborhood considered himself too tough to join
the club ; but Trent wins him over. Tommy innocently be-
comes involved with a gang of crooks, of which his older
brother was a member. They attempt to steal a payroll
from Trent, who was flying it to a mining camp. They have
Tommy signal the plane down, and then steal the money.
But Trent thinks of a way of outwitting the crooks by
sending out a signal. They are rescued, and the money
recovered. Tommy is overjoyed at being commended for
his assistance to Trent.
Byron Morgan and Edwin C. Parsons wrote the screen
play, Howard Bretherton directed it, and Paul Malvern
produced it. In the cast are Marjorie Reynolds. Milburn
Stone, Dennis Moore, Jason Kobards, and others.
Suitability, Class A.
192
HARRISON'S REPORTS
December 2, 1939
must first transform such word into the image it
represents before the mind can see it, and since
much of the image's vividness is lost in the trans-
formation (the degree of the loss depending on
each individual's ability to visualize), the image is
not impressed on the mind as deeply, whereas when
the image is represented by a direct picture, the
impression on the brain is the most vivid possible.
When valuable educational information is pre-
sented to the public through motion pictures, the
picture-goers receive, not .only ..entertainment, but
also information.
Experience, however, has taught the exhibitors
as well as the publicity men that, whenever the
publicity matter conveys the impression that a pic-
ture is educational in nature, harm is done : most
people stay away from that picture. And rightly
so, for every one feels that the place for education
is, not the theatre, but either the school, the home,
or the church ; the theatre, he reasons, is a place
where people go to be entertained and not educated.
To make education pleasurable to the picture-
goers and at the same time attractive to them has
been a great problem to the producers ; skill is re-
quired to make people take education in their en-
tertainment without resenting it.
In the "Dr. Kildare" series of feature pictures,
Metro-Goldwyn-Mayer has succeeded in accom-
plishing this very thing. Each picture of this series
conveys some medical information that the average
person wants to know about, no matter whether he
belongs to the masses or to the classes.
The latest picture of this series, entitled "Dr.
Kildare's Secret," contains information about psy-
choanalysis ; and this interesting subject is pre-
sented, not as a preachment, but as part of the en-
tertainment— the characters reveal it in the course
of their conversation in a natural, not obtrusive,
way. In other words, the subject is not "dragged
in by the ear" just because the author may have
felt that it is good information for the public to
have.
MGM should be congratulated for the quality
of this series of pictures.
MORE REMAKES
In last week's issue there was printed a review
of "The Honeymoon Is Over" ; you were informed
in that review that this picture is a remake of "Six
Cylinder Love," produced by the Fox Film Cor-
poration twice, in 1923, and in 1931. The 1923 ver-
sion was very good ; the 1931, only fair. The pres-
ent version is not even as good as the 1931 version.
Just why the producers insist upon making cheap
reissues when they can have "fresh" stories to
spend their money on is really a mystery ; they
don't make any money with them, and the exhibi-
tor loses his "shirt." Perhaps they reason that,
when a picture was made eight or ten years ago,
enough children have grown up to justify remak-
ing ; but they overlook the fact that those who saw
the original picture did not forget it ; and enough of
them keep away from the theatres to cut into the
exhibitor's box-office receipts considerably.
In the present instance, the Twentieth Century-
Fox Corporation has offended the interests of the
exhibitors doubly — not only because the picture
has turned out poor, but also because, with the
changed title, those who saw either of the other
versions will feel deceived. Thus the Twentieth
Century-Fox company will place the exhibitors in
an embarrassing position.
Other remakes, either to be released soon or an-
nounced for production are the following :
"The Light That Failed," by the late Rudyard
Kipling, with Ronald Colman: Produced by Pathe
in 1916, with fair results, and by Paramount in
1923, with indifferent results. Picture set for re-
lease in January.
"Bill of Divorcement," the Clement Dane play,
to be produced by RKO. It was produced by the
same company in 1932, with Katharine Hepburn
and John Barrymore. The picture made a hit, but
it is difficult to tell whether its success was owed to
the quality of the story or to the fact that Miss
Hepburn caught the fancy of the picture-going
pubiic. It was her first picture, and many pictures
of hers after that drew big crowds.
"Kiki," to be produced by RKO. This David
Bclasco play was produced by First National, with
Norma Talmadge, in 1926, and by United Artists,
With Mary Pickford in 1931. The First National
version, with Ronald Colman, Mack Swain, Marc
McDermott, and Frankie Darro assisting Miss Tal-
madge, was very good, and made a very good box-
office success ; the United Artists version was only
fairly good, and made a fair box-office success. It
is a comedy, in which the impish heroine, a chorus
girl, falls in love with the manager of the show. She
eventually lands him, despite his efforts to avoid
her.
"Laddie," to be produced by RKO. It was pro-
duced in 1926 by FBO, which was RKO's prede-
cessor, and by RKO itself in 1935. The FBO ver-
sion turned out good ; the RKO version, very good.
It is a deeply human story.
"The W ay of All Flesh," to be produced by
Paramount. It was produced by the same company
in 1927, with Emil Jannings ; it was a deeply human
story, and made a considerable box-office success.
"The Count of Luxembourg," to be produced
by Paramount. It was first produced in 1926, for
the State Rights market, and it turned out only
fair. But those were the silent days ; the present
production will, no doubt, have a better chance,
since it is a musical. It is the A. M. Willner and
Robert Bodanzky operetta. It was produced at the
Al Jolson Theatre, New York City, February 17,
1930, and played to 16 performances only. The
story material is only fair, but it lends itself to im-
provement. It should turn out either good ©r very
good.
PICTURES IN PRODUCTION NOW
IN HOLLYWOOD
(Continued from last week)
Paramount
"Safari," with Madeleine Carroll, Douglas Fair-
banks, Jr., Tulio Carminati, Lynne Overman, and
Muriel Angelus, with Edward H. Grffiith direct-
ing. Mr. Griffith is a good director, but so far as the
box office is concerned the picture should turn out
a fairly good picture.
"At Good Old Siwash," with William Holden,
Ezra Stone, Bonita Granville, Judith Barrett, and
Vaughan Glaser, directed by Theodore Reed. It is
a college story, with fair to fairly good possibilities.
Republic
"The Narrow Path," with Charles Bickford,
Doris Day, Owen Davis, Jr., Charles Middleton,
Sheila Bromley and Paul Guilfoyle, produced by
Robert North, with John H. Auer directing.
(1 o be continued next week)
EnUnsd as »«e«nd-elass matter January 4, at the powt office at New Tark, K«w Y*i<k, tM»*w Hn a*t *f Wbmb «t NN,
Harrison's Reports
Yearly Subscription Rates: 1270 SIXTH AVENUE Published T«aHr by
United States $16.00 D««»,1K19 Harrison s Raport* i.e.,
U. S. Insular Possess*™*. 16.50 KOOm IttlZ Pubtoaer
Canada 16.50 New York, N. Y. P. S. HARBISON, Hditor
Mexico, Cuba, Spain 16.50 . .. _. , _ _
i-raai i>rif,i„ ik^s A Motion Picture Reviewing SefTiee
Vjrreat £>ritain 15.75 ■n'„,«ui:«u-.^ t,»i., 1 im
Australia, New Zealand, Devoted Chiefly to the Interests of the Exhibitors Established July 1, 1319
India, Europe, Asia 17.50
ik« » pmv Its Editorial Policy: No Problem Too Big for Its Editorial Circle 7-4«t2
a ^opy Columns, if It is to Benefit the Exhibitor.
A REVIEWING SERVICE FREE FROM THE INFLUENCE OF FILM ADVERTISING
Vol. XXI SATURDAY, DECEMBER 9, 1939 No. 49
A WRECKING CREW OF ONE
Harry Brandt, president of a shadow exhibitor
organization in this city, is touring the twenty-one
zones (1 don't know at whose expense) in order
id induce individual exhibitors to take a stand
against the Neely Bill, by writing letters to their
Congressmen expressing their opposition to it.
In zones where Allied is organized, his success
is, of course, nil, but I don't know what is happen-
ing- in zones where there is no Allied unit.
• As a side issue, Harry takes a crack at Mr.
Abrarri F. Myers, general counsel of Allied States
Association, and, strange to say, against Warner
Bros. As a matter of fact, my information is to the
effect that he is blasting this company very severely.
Harrison's Reports is not concerned with
Harry's criticisms against Warner Bros., for it
feels that that company should be able to take care
of itself — Grad Sears, president of Vitagraph, is
certainly not of the squeamish type, for he can take
it just as well as he can give it; he ought to know
what is behind Harry's blasts, and whether his trip
is financed by himself or by some film company
that has the killing of the Neeley Bill uppermost
in its mind, and the blasting of Warner Bros as a
secondary issue. But Harrison's Reports is con-
cerned about his tirade against Mr. Myers.
A transcript of his speech made in one of the
zones is expected in this office, and incidentally in
Mr. Myers' office, for study. Comment on his
speech, then, will be made, if it should be necessary.
In the meantime, let me say that Harry Brandt, in
criticizing the Allied leader, is serving no exhibitor
interests.
It seems as if the producers have realized that
Ed Kuykendall and MPTOA are "dead," so far as
being useful as a front at Washington is concerned,
and some one in their ranks has conceived the idea
of using Harry Brandt to do the work that was
Ed's business.
The use of a fresh person to do Ed's work seems
to have become absolutely necessary, because of the
Columbia-Capra blunder of maligning the United
State Senate. Many members of the House of Rep-
resentatives and a large number of Senators have
expressed their indignation at the insult done to
their body by the picture "Mr. Smith Goes to
Washington" and the producers, fearing that there
is no chance to defeat the Neely Bill by the usual
methods, have decided to use the back-door method
— by inducing some exhibitors to write to their
Congressmen directly expressing their opposition
to the Bill. They know that John and Jim and
Charlie exert a greater influence upon their legis-
lators than do Zanuck, and Zukor, and Schenck,
and are determined to use this method as a last
straw.
Such a method might have been successful some
years ago, but it cannot succeed now, for the simple
reason that the Neely Bill is altogether out of the
hands of the exhibitors, to such an extent that, even
if most exhibitor leaders who are now fighting for
the bill were to drop their fight and join the ranks
of the opponents, the Bill would, in the opinion of
those who seem to know, go through just the same ;
it is now in the hands of public groups, whose stand
the producers in no way can influence.
Though the new way of going about it in an effort
to kill the Neely Bill will, in the opinion of this
paper, prove just as unsuccessful as the old way,
just the same Harrison's Reports is eager to
know who has inspired Harry to make his vicious
blasts against Warner Bros. Not that Harrison's
Report, too, would hesitate to criticize this com-
pany if the occasion required it, but its curiosity as
to Harry's real motives for these blasts has been
aroused. Perhaps Gradwell Sears can enlighten us.
I notice that the Independent Exhibitor, which
is Harry's house organ although it is supposed to be
an independent paper (it has no second-class mail-
ing privilege ; the Post Office grants such a privi-
lege only to bona-fide publications) contains ad-
vertisements from MGM, RKO, and Paramount,
but not from Warner Bros. Is that one of the
reasons for the blasts?
THE EUROPEAN SITUATION AS THE
AMERICAN PRODUCERS' "GOAT"
In his letter to Simon Fabian, which was dis-
cussed in last week's issue, Darrvl Zanuck, head of
the Twentieth Century-Fox studio, attributed the
need for longer runs of meritorious pictures partly
to the present European situation, which has caused
a shrinkage in the producers' return from the for-
eign market.
It seems as if the American producers have now-
found a situation which they may use any time
they see fit to scare you into giving them more
money for film.
In order to make it difficult for them again to
use the European situation as a "goat," allow me
to acquaint you with certain facts. The latest Brit-
ish trade papers from London state that the picture-
theatre business in Great Britain is nearly hack to
normal. Mr. Arthur Dent, an outstanding figure in
the picture business there, is quoted as having said
the following :
"Business is certainly not more than 10 per cent
lower all around. In fact, we are not finding it seri-
ously down at all. Some areas in the provinces are
not down at all, while some suburban theatres are
doing better than they did before the war."
The same trade papers carry the news that there
[Continued on last page)
194
HARRISON'S REPORTS
December 9, 1939
"The Night of Nights" with Pat O'Brien,
Olympe Bradna and Roland Young
(Paramount, Dec. 1 ; time, 85 min.)
This heavy drama, with some comedy touches, unfolds
in a ponderous way. It has a few touching moments, hut
these are not enough to cover up the dull spots or speed up
the action. One can hardly sympathize with the hero, for
his downfall had heen caused by his weakness for drink.
There is not much that the players can do with the material.
Pat O'Brien is made to walk through at least half the pic-
ture with a frozen expres: ion ; and he, as well as the others,
speak lines that are stilt< d and artificial. Miss Bradna is
charming, but she cannot give life to a dead story : —
Pat O'Brien, a leading actor-manager, promises his
wife, who was his leading lady, not to drink any more. On
the night of the opening of their most important play, he
and his best friend (Roland Young), also a member of the
cast, get drunk and, up< n their first appearance on the
stage, create a scene by fighting. The curtain is brought
down and the audience leaves. It is that night that O'Brien
learns that his wife was to have a baby; and, further, that
she had left him without saying where she was going.
Heartbroken, he gives up acting ; he makes a meager living
by writing radio scripts. Young, who had married a wealthy
dowager he despised, asssists O'Brien financially. Years
later, O'Brien receives a letter from his daughter (Olympe
Bradna), informing him that she would visit him. In ac-
cordance with instructions left by her mother at the con-
vent where the girl had been reared, she had just been told
who her father was. Her mother had died at childbirth.
Helped by Young and two other friends, O'Brien puts up
a good appearance for the girl, knowing that she was leav-
ing for France the next day to follow an art career. The
girl expresses a desire to stay with her father, but he re-
fuses to permit her to do so, for he was suffering from a
heart ailment and was penniless. She learns from Young
the true state of affairs and, despite her father's objections,
stays with him. She inspires him and urges him to produce
the play he was supposed to have done with her mother ;
she takes her mother's part. The opening night proves to
be a brilliant success, and Miss Bradna is hailed as a new
star. O'Brien suffers a heart attack, but dies happy at the
thought that he had launched his daughter's career.
Donald Ogden Stewart wrote the screen play, Lewis
Milestone directed it, and George Arthur produced it. In the
cast are Reginald Gardiner, George E. Stone, Murray
Alper, and others.
Suitability, Class A.
"Four Wives" with Priscilla, Rosemary and
Lola Lane, May Robson and
Claude Rains
(1st Natl., Dec. 25; time, 101 min.)
This homey human-interest story, which starts where
"Four Daughters" ended, is a good follow-up to the first
picture, from the point of view of production, acting, and
direction. But it lacks the spontaneity of the first one. The
picture is too long drawn out, causing the action to become
slow in spots. Despite this defect, women will undoubtedly
enjoy it, for a good part of the action is taken up with the
subject of maternity, and is treated in a way that will
appeal to them. The characters are, as before, loveable;
their actions provoke laughter and sometimes bring tears.
Most of the drama is caused by Priscilla's unhappiness : —
Priscilla's family, consisting of her father (Claude
Rains), aunt (May Robson), sisters (Rosemary and Lola
Lane and Gale Page), and two brothers-in-law (Dick
Foran and Frank McHugh), are happy when they hear
that Jeffrey Lynn was returning from his concert tour, for
they felt sure that Priscilla would now marry him, her hus-
band having died in an automobile accident. The sisters
accompany Gale to a doctor. She is heartbroken when he
tells her she could never have a baby. Priscilla faints in the
doctor's office. Upon examination the doctor finds that it
was she who was going to have a baby. This brings about
a change in Priscilla ; she becomes moody and thinks of her
dead husband, pitying him because of the unhappiness he
had known. A young doctor (Eddie Albert) urges her to
marry Lynn, since Lynn's affections had not changed when
he had heard she was going to have a baby. She marries
Lynn ; but her mood remains the same — she even sends him
away just before she expects the baby. In the meantime,
Lola, thinking she could not have a baby, adopts one; to
her surprise she learns that she was going to have a child.
She and her husband decide to turn the adopted child over
to Gale and her husband. Lynn, knowing that it would
make Priscilla happy, orchestrates a composition of her
first husband's, and plays it with a symphony orchestra.
Priscilla hears it over the radio while she was at the hospi-
tal where her baby had been born. This brings about her
cure, for she no longer pitied her dead husband. She and
Lynn are happily reconciled. The whole family joins in
celebrating the marriage of Rosemary and Albert.
The story was suggested by the novel "Sister Act" by
Fannie Hurst; Julius J. and Philip G. Epstein wrote the
screen play, Michael Curtiz directed it, and Hal Wallis
produced, with Henry Blanke associate producer. Henry
O'Neill, Vera Lewis, John Qualen, and others are in the
cast.
Suitability, Class A.
"The Cisco Kid and the Lady" with
Cesar Romero and Mar jorie Weaver
(20th Century-Fox, Dec. 29; time, 73 min.)
Twentieth Century-Fox probably intends to start another
"Cisco Kid" series, with Cesar Romero in the leading part.
If so, the choice is good, for Romero handles the role
effectively, alternating between romance and melodramatics
in a dashing manner. As entertainment, it is a pretty good
Western, with plentiful shooting, fighting, and riding.
Women should like it more than they like the average west-
ern, because of the appearance in the picture of a charming
baby : —
Romero and his pal (Chris-Pin Martin), who lived by
their wits, are amused when they read of the many crimes
attributed to Romero, known as the Cisco Kid, for Romero
was not guilty, his activities being confined to helping those
in need of help. Since no one knew who the Cisco Kid really
was, they feel safe in travelling around. Romero and Martin
decide to save a valuable gold mine for a baby whose father
had been killed by Robert Barrat. Before dying, the father
had torn the map of the mine's location into three parts,
giving one part each to Barrat, Romero, and Martin. But
Romero and Martin, knowing that Barrat would kill them
so as to rob them of their portions of the map, memorize
them and then destroy them. Romero falls in love with
Marjorie Weaver, a young school teacher, and asks her to
take care of the baby. But when he learns that she was in
love with some one else, he transfers his attentions to Vir-
ginia Field, who worked in the dance hall owned by Barrat.
Miss Field steals from Barrat his portion of the map, which
Romero in turn steals from her. Angered, and knowing
that he was the "Cisco Kid," she gives his identity away ;
he is put in jail. But Romero outwits every one: He in-
duces Barrat to rob a stage coach dressed in his clothes.
Barrat is caught and, since he was taken for the Cisco Kid,
is fired upon and killed. Upon his release, Romero locates
the mine and turns over the entire thing to Miss Weaver,
in trust for the child. He continues on his travels with
Martin. But Miss Field follows him, because she loved him.
Stanley Rauh wrote the story, and Frances Hyland, the
screen play ; Herbert I. Leeds directed it, and John Stone
produced it. In the cast are George Montgomery, James
Burke, Harry Green, Ward Bond, and others.
The murder makes it unsuitable for children. Class B.
"Legion of the Lawless" with
George O'Brien
(RKO, Dec. 29; time, 59 min.)
A fair Western. Although there is not as much fast action
as in some of the other O'Brien pictures, it holds one in
suspense, for it shows the hero endangering his life by op-
posing the criminal forces. The fans will most likely enjoy
it since it follows the routine plot, in which the courageous
hero outwits the criminals and brings law and order to the
town. The villains in this case are particularly vicious.
There is a pleasant romance : —
O'Brien, a young lawyer, settles in a small town. He re-
ceives a visit from Norman Willis and Hugh Sothern, who
order him to leave ; they explain that the town was run law-
fully by a Vigilante Committee and that there was no need
of a lawyer. But O'Brien, knowing that the railroad was
coming through and that the town would grow and need a
lawyer, refuses to leave. Sothern, supposedly the head of
the Vigilantes, did not know that Willis and a few others
were using their membership in the Vigilantes to terrorize
settlers. When he becomes aware of this and makes a de-
cision to disband the Committee, so that a Sheriff could be
elected, Willis' men kill him. O'Brien traps Willis, and ex-
poses him for the murderer he was. The Vigilantes are dis-
banded, and O'Brien is elected Sheriff. He marries Soth-
ern's daughter (Virginia Vale).
Doris Schroeder wrote the screen play, David Howard
directed it, and Bert Gilroy produced it. In the cast are
Herbert Heywood, William Benedict, Eddy Waller, and
others.
Not for children. Suitable for adolescents and adults.
Suitability, Class B.
December 9, 1939
HARRISON'S REPORTS
195
"The Big Guy" with Victor McLaglen
and Jackie Cooper
(Universal, Nov. 24; time, 78 min.)
This is a pretty gripping melodrama, with plentiful action
and human appeal. Although the plot is not novel, the pic-
ture has been produced so well, and the acting of the two
leading players so realistic, that one's attention is held tense
throughout. Since one knows from the beginning that Jackie
Cooper had been framed, one's sympathies are naturally
with him. There are many exciting situations. Particularly
thrilling are the closing scenes, in which a dangerous crimi-
nal tries to shoot it out with the police, at the same time
endangering the young hero's life: —
Jackie Cooper is excited when Jonathan Hale, supposedly
a reputable business man, shows an interest in his new
motor invention. Upon receiving a call from Hale, request-
ing him to meet him at a certain spot so as to take him to a
man who wanted to invest money in the invention, Cooper
hurriedly leaves his job. He did not know that Hale was the
front man for two gangsters, who had escaped from prison,
and that he wanted to use Cooper to effect their getaway.
At the point of a gun, Cooper is forced to drive them in his
car; they had taken with them the prison warden (Victor
McLaglen), whom they had knocked unconscious. The car
falls down a cliff. One of the gangsters is killed. Mc-
Laglen awakens just as the other gangster was trying to
make a getaway, and shoots and kills him. Upon examining
the suitcase the gangster had been carrying, he finds it
filled with money, which he hides. He then arrests Cooper.
Since a policeman had been killed in the pursuit, Cooper
is charged with murder. No one believes Cooper's story,
for the invention plans could not be found. Hale is eventu-
ally found and made to appear as a witness, but he denies
everything Cooper had said. Cooper is found guilty and
sentenced to death. A young girl friend and her father, a
lawyer, try to help him, but to no avail. McLaglen, con-
science-stricken, digs up the hidden money, intending to
leave the country with his wife. To his amazement, he finds
that the paper in which he had wrapped the money was the
•plans of Cooper's invention. He goes to Cooper's lawyer,
and offers to sign an affidavit clearing Cooper if he would
give him a few days' time to get away. Just then he receives
word of a prison break in which Cooper had escaped with
Ed Brophy, a dangerous killer. When the two convicts are
cornered, Brophy shoots it out with the police ; he kills
Mcl.aglen, but is himself captured. Cooper is freed.
Wallace Sullivan and Richard K. Polimer wrote the
story, and Lester Cole, the screen play ; Arthur Lubin
directed it, and Burt Kelly produced it. In the cast are
Peggy Moran, Ona Munson, Russel Hicks, and others.
Not for children. Suitable for adolescents and adults.
Class B.
"The Man from Montreal" with Richard
Arlen, Kay Sutton, Anne Gwynne,
and Andy Devine
(Universal, Dee. 8; 63 min.)
A fair action melodrama, dealing with the efforts of the
Canadian Mounted Police to detect and arrest fur thieves.
There is fast action, and the spectator is held in fairly tense
suspense. There is some comedy, and a romance : —
Richard Arlen, popular Canadian fur trapper, is arrested
when pelts, supposedly belonging to Reed Hadley, who
posed as a mining engineer, were found in his canoe when
he was ready to leave the trading post ; he had been asked
by Hadley to deliver the packages to some one in the city.
The pelts, which were marked with the name of William
Royle, had been stolen from Royle by Hadley and his con-
federates, who had been carrying on fur-stealing operations
in that region. Arlen refuses to defend himself for fear that
he would implicate Kay, supposedly Hadley's sister, for
whose charms he had fallen. Andy Devine, friend of Arlen,
visits him in jail and reveals to him the fact that Kay and
Hadley were man and wife. Arlen escapes from jail and
finds evidence of Hadley's guilt. When Royle is found
slain, Arlen is charged with the murder. Devine hides
Arlen. For this, he is suspended from the Mounted Police.
Hadley plants evidence that makes Arlen appear guilty of
the murder. The Mounted Police, in a battle in which they
were aided by Arlen and Devine, capture Hadley, who set
out to murder Arlen ; they take also Kay. Arlen and Devine
bring out proof of Hadley's guilt. Devine is reinstated and
Arlen's name cleared. By this time, Arlen realizes that he
was in love, not with Kay, but with Anne, Devinc's sister.
The story was suggested by Ben Pivar ; the screen-play is
by Owen Francis. Christy Cabannc directed it.
Because of the fact that it deals with crime, it is Class B
for children under 14. Passable for adolescents. Suitable
for double-billing.
"Destry Rides Again" with Marlene Dietrich
and James Stewart
(Universal, Dec. 29; time, 93 min.)
This has all the color, action, and excitement of a very
good Western, with the added attraction of two box-office
names of value — James Stewart and Marlene Dietrich. The
story itself is routine ; but that is of secondary importance,
for it has been so expertly handled that one's interest never
lags. The production is lavish, the action thrilling and laugh-
provoking, and the performances, from the stars down, very
good. The part Miss Dietrich plays seems to suit her talents
better than the sophisticated roles she recently appeared in ;
she acts the part of a rough, tough, alluring saloon singer,
and does it convincingly. Her death in the end may prove
disappointing to some from a romantic point of view : —
The town of Bottleneck was run by Brian Donlevy, owner
of the saloon, and by his henchmen, including the crooked
Mayor (Samuel Hinds). Donlevy conducted crooked poker
games, during which he would egg ranch owners into bet-
ting their ranches, and then would take them away from
them. Miss Dietrich, too, helped in the cheating. After kill-
ing the honest Sheriff who had protested against the prac-
tice, Donlevy orders Hinds to name the town drunkard
(Charles Winninger) Sheriff. This so impresses Winninger
that he gives up drinking and takes his job seriously. The
first thing he does is to send for James Stewart, son of a
famous Sheriff, under whom he had once worked. Stewart
arrives, but proves to be a disappointment to Winninger,
for he did not believe in carrying guns. Stewart was easy-
going ; his idea was to clean up the town, not by gun-fight-
ing, but by outwitting the crooks. In the meantime, every
one, including Donlevy and Winninger, believed Stewart
an easy mark. Stewart and Miss Dietrich become attracted
to each other; she tries to warn him of his danger, but he
laughs at her. Having found the body of the murdered
Sheriff, Stewart arrests one of Donlevy's henchmen for the
murder. He then sends for a Federal Judge -to insure an
honest trial. Donlevy's men break into the jail and release
the prisoner. In doing this they kill Winninger. This arouses
Stewart to real action. He takes his guns and, with the help
of the decent citizens of the town, goes after the crooks. The
women of the town join in the fight by arming themselves
with bats. Miss Dietrich, noticing that Donlevy was aiming
his gun at Stewart, rushes to protect him. She receives the
bullet and dies. The town of Bottleneck finally gets law and
order.
The plot was adapted from the novel by Max Brand.
Felix Jackson, Henry Meyers, and Gertrude Purcell wrote
the screen play, George Marshall directed it, and Joe Pas-
ternak produced it. In the cast are Una Merkel, Mischa
Auer, Irene Hervey, Warren Hymer, Allen Jenkins, Billy-
Gilbert, and others.
Not for children. Suitable for adolescents and adults.
Suitability, Class B.
"Private Detective" with Jane Wyman
and Dick Foran
(First Natl., December 9; time, 55 nun.)
A pretty good program action melodrama. It is a mur-
der mystery, in which the murderer's identity is not re-
vealed until the end. The action is fast and, towards the
end, pretty exciting, for the heroine's life is endangered.
The romance is of secondary importance : —
Jane Wyman, who worked for a private detective agency,
resigns rather than give false testimony against Gloria
Dickson, whose divorced husband (John Eldredge) was
trying to gain custody of their child. Miss Wyman felt cer-
tain that Miss Dickson was a decent woman, and that
Eldredgc's interest in his child was just to get his hands on
a large inheritance left to the boy. Eldredge, at the insist-
ence of his lawyer, telephones to the police asking for pro-
tection, claiming that Miss Dickson had threatened to kill
him. The idea was to blacken her name further. When
Eldredge is killed, Miss Dickson is naturally suspected as
being the guilty person. But Miss Wyman thinks otherwise.
Despite the disapproval of her fiance (Dick Foran), a police
inspector, she starts an investigation of her own. Eventuallv
she proves that the murder had been committed by the
lawyer, who wanted to become guardian of the child and
thus gain control of the fortune. Miss Dickson's name is
cleared ; she is overjoyed at regaining custody of her child.
Miss Wyman is thankful that Foran had arrived in time
to save her from the lawyer, who held her a prisoner.
Kay Krause wrote the story, and Earl Shell and Raymond
Schrock, the screen play ; Noel Smith directed it. and Bryan
Foy produced it. In the cast are Maxic Roscnbloom, John
Ridgely. Morgan Conway, Joe Crehan, and others.
Not for children. Suitable for adolescents and adults.
Class B.
196
HARRISON'S REPORTS
December 9, 1939
is a possibility that the government may open the
theatres on Sundays all over the country instead of
allowing local option to determine whether they
should or should not be kept on that day. If Sunday
opening should be made nation-wide in Great Brit-
ain, the revenue of the American distributors would
naturally increase substantially.
As far as leaving f fty per cent of their net in
England for the duration of the war is concerned,
it is my opinion that this will not cause them any
serious difficulties, by reason of the fact that al-
most all that money will be spent there producing
pictures for the American market. If anything, it
will be an advantage, for picture production in
Great Britain costs less than it does in the United
States.
I hope that, in the future, you will not be moved
to pity the American producer when you see him
shedding tears while telling you how much their
foreign receipts have been curtailed because of the
war.
"WE ARE NOT ALONE" TO HAVE A
HAPPY ENDING
According to Hollywood newspaper correspond-
ents, Warner Bros, has decided to have two end-
ings for "We Are Not Alone" : the present ending,
which shows the hero and the heroine going to their
death, although innocent of murder; and one in
which they live. The sad ending is to be retained in
the big-city showings, attaching the happy ending
to the prints that will go to the small towns.
Some critics, as well as many exhibitors, have
expressed the opinion that the picture, highly ar-
tistic though it is, will not prove a box-office suc-
cess, because of the fact that the subject is drab.
This paper is of the same opinion.
But regardless whether the picture will or will
not prove a big box-office success, exhibitors should
not pass it up, for artistically the picture is one of
the highest achievements in the motion picture in-
dustry. It is one of those pictures that appeal to the
cultured picture-goers, and not so much to the
masses. But it is the kind of picture that engraves
itself in the mind of those who appreciate this type
of work.
ADDITIONAL FACTS ON
PARAMOUNT'S
"GULLIVER'S TRAVELS"
In the comment about "Gulliver's Travels,"
which appeared under the heading "Pictures in
Production Now in Hollywood" in the November
25 issue, the last name of the author and the years
in which the tales were written were omitted
through a typographical error. The text should
read : "These imaginary adventure tales were writ-
ten by Jonathan Swift, in 1726-27, zvhile he was
Dean of St. Patrick's Cathedral, in Dublin." The
italicized part was inadvertently omitted.
PICTURES NOW IN PRODUCTION
{Continued from last week)
Republic
"South of the Border," with Gene Autry, pro-
duced by William Berke, with George Sherman
directing. Mr. Berke is a first-class unit producer
and should be able, not only to maintain the quality
of this star's pictures, but also greatly improve it.
"Money to Burn," with James, Lucille and Rus-
sell Gleason, and with Harry Davenport, Tommy
Ryan, Thurston Hall, Lucien Littleiield and others
in the supporting cast. Gus Meins is producing as
well as directing.
"Days of Jessie James," with Roy Rogers, Don-
ald Berry, George "Gabby" Hayes, and others.
Produced and directed by Joe Kane. Perhaps the
fame of the Jessie James picture that was released
recently by Twentieth Century-Pox will help this
picture to draw.
RKO
"Vigil in the Night," with Carole Lombard,
Brian Aherne, Anne Shirley, and Brenda Forbes,
produced and directed by George Stevens. It is
the novel by Dr. A. J. Cronin, author of the novel
"Citadel" which was produced by MGM in Eng-
land. It is a drama of a self-sacrifice — the hero-
ine, a nurse, takes the blame for something her
sister had done, and loses her position as a result.
But the hero, a doctor, has faith in her, stands by
her, and in the end he wins her as a wife. The pic-
ture is now in the cutting room. It undoubtedly has
turned out a powerful drama, and since Miss Lom-
bard is a big drawing card, and Miss Shirley and
Mr. Aherne are not strangers to the box office, the
picture should do very well.
"The Swiss Family Robinson," with Thomas
Mitchell, Edna Best, Freddie Bartholomew, Terry
Kilburn, Tim Holt, and Christian Rob, produced
by Gene Towne and Graham Baker, and directed
by Edward Ludwig. The plot has been founded
on the Jean R. Wyss famous novel, popular mostly
among children. It deals with a family who were
shipwrecked on a lonely island, succeeded in sus-
taining life, and when a rescue ship came some of
them returned to civilization and some of them re-
mained on the island. The cast is not so popular
and the picture will have to depend almost entirely
on the book's popularity to go over.
"And So Goodbye," with Jean Parker, Richard
Carlson, Harry Carey, Maria Ouspenskaya,
Charles YVinninger, C. Aubrey Smith, and William
Bakewell. It is produced by Lee Carmes and Adele
Comandini, and directed by Eddie Sutherland. It
is evidently meant to be a program picture, but
Mr. Sutherland is a director of bigger pictures than
this.
"Irene," with Anna Neagle in the stellar role,
and with Alan Marshal, May Robson, Roland
Young, Billie Burke, Arthur Treacher, James
Gleason, Isabel Jewell, Doris Nolan and others,
assisting. Herbert Wilcox is producing-directing.
It is the James Montgomery romantic musical play,
which proved one of the most outstanding musicals,
playing to 600 performances at the Vanderbilt,
where it opened November 18, 1919. Four com-
panies played it on the road, and during its two-
year run it went to the Coast twice. It played also
in London. Among the songs that proved immediate
hits were, "Alice Blue Gown," "Irene," "Castle
Dreams," "To Be Worthy," and "Talk of the
Town." Additional songs will be written by Messrs.
Tierny and McCarthy. The play was produced in
technicolor as a silent picture by First National in
1926, with Colleen Moore. A fashion show was
included. The picture turned out fairly good. With
sound, Mr. Wilcox ought to make a better picture
with it. Miss Neagle is not as popular here as she
is in the British Dominions, but her appearance in
"Nurse Cavell" has, no doubt, built her up consid-
erably. The picture should turn out very good, and
should prove a very good box office attraction.
{To be continued next week)
Entered as second-class matter January 4, 1921, at the post office at New York, New York, under the act of March 3, 1879.
Harrison's Reports
Yearly Subscription Rates: 1270 SIXTH AVENUE Published Weekly by
United States $15.00 R~>m 1R19 Harrison's Reports. Inc.,
U. S. Insular Possessions. 16.50 ivuuui 1014 Publisher
Canada 16.50 New York, N. Y. P. S. HARRISON, Editor
Mexico, Cuba, Spain 16.50 . _, .. _. . _ . .
rrpit R-itnin IB 7fi A Motion Picture Reviewing Service
Australia New 'Zealand,' Devoted Chiefly to the Interests of the Exhibitors Established July 1, 1919
India, Europe, Asia 17. 0 ^ Editorial Policy: No Problem Too Big for Its Editorial Circle 7-4622
d5c a Copy Columns, if It is to Benefit the Exhibitor.
A REVIEWING SERVICE FREE FROM THE INFLUENCE OF FILM ADVERTISING
Vol. XXI SATURDAY, DECEMBER 16, 1939 No. 50
HARRY BRANDT'S THOUGHTS
IN A TANGLE
In aii editorial that I printed in last week's issue of
Harrison's Reports, I informed you that Harry Brandt,
president of I.T.O.A. of New York, a shadow organization,
lias toured the different film zones, talking against the
Neely Bill, and criticizing Abram F. Myers, general coun-
sel of Allied States Association, and blasting the Warner
Bros, organization.
In that editorial I informed you that I was expecting a
transcript of the speech he made in Chicago, and that, when
it arrived, I would study it in order to find out how much
nonsense he dished out with a view to making further com-
ment, if I should find it necessary to do so.
Well, the transcript arrived and all I can tell you is that
I am now just as much at a loss to know where Harry
stands in matters that pertain to vital exhibitor-producer
issues as I have ever been. If Harry were to be called "a
windmill," or "a weather vane," the appellation would not,
in my opinion, be wrong, for the position that he took in his
talks in the different zones is contrary to the position he
often took before the trip. As a matter of fact, his Chicago
speech proves him inconsistent from one paragraph to an-
other.
For instance, in referring to the conferences that culmi-
nated in the drafting of the Code, he says in one breath :
"I don't think that 1 ever entered into a proposition with
more gusto, with more heart, with more feeling, than when
I went into the so-called trade practices" ; and in the next
breath he says : "From the very inception of the code nego-
tiations, I snouted, both from our own paper [The Inde-
pendent] and through the trade press, as loudly as I could,
that the I.T.O.A. didn't give a damn about the code. . . .We
don't like anything about the code, because, in the final
analysis, if you study the proposed code you come to the
conclusion that the only thing the code deals with is dollars
and cents. ..." A perfect confusion of thoughts.
But that isn't all : Harry's confusion of thoughts becomes
clearer when one reads what he said in the trade press the
day following the "killing" of the code by Thurman Arnold,
assistant Attorney General. The trade papers of August 21
quote him as having said the following :
"Thurman Arnold has been ill-advised regarding the
trade practice code and the need of the independent ex-
hibitors. Divorcement of theatres is not important to the
welfare of the independent exhibitors. What is important is
that the troubles that would be solved through the arbitra-
tion provision of the code would mean a great deal to the
success of the independent theatre operation.
"I earnestly entreat the distributors to go ahead with the
code and allow the exhibitors of the nation to take advantage
of what it offers. . . . "'
I don't know whether Harry, in the event that the distri-
butors took his advice, offered to go to jail for them if they
should have been found guilty of having violated the anti-
trust law on a complaint by the Department of Justice, but
it is not material to this issue ; all I want to do is to ask
you to tell me whether Harry is for or against the Code—
for the life of me I cannot determine the matter, for in
August he was for the Code, whereas two weeks ago, in
Chicago, he was against it ; and so far as I know, he may
be for it again by this time.
Let us continue quoting from the aforementioned para-
graph, taken from his statement to the trade press on
August 21 : He says, "If the code is not revived by* the
distributors, the exhibitors can place the blame on the
shoulders of Abram F. Myers who has campaigned most
actively for Government intervention rather than logical
exhibitor relief. ..."
From reading this, you might form the opinion that
Harry is decidedly opposed to government regulation of the
picture industry. If so, you have another guess coming, for,
in accordance with the transcript of his Chicago speech, he,
addressing Allied, said :
"If, instead of going for that Neely Bill, you had gone
and had a commission set up using the same energy and
effort to regulate the motion picture industry, how much
better off our position would be !"
Now, Harry does not make it clear whether he meant a
government or an industry commission; I take it for
granted that he meant government commission, for the
simple reason that only a commission set up by law can
decree regulations that anybody would pay any attention to.
That granted, then where is his consistency? On the one
hand, he brands the Neely Bill as "government regulation,"
even though this Bill provides for no government regulators
but leaves its application to the district courts, just as is
the case with all other Federal laws ; and on the other, he
advocates a government commission to regulate the in-
dustry's affairs, chiding the Allied leaders for having
failed to pursue such a "worthy" object.
Personally, I am opposed to a government regulatory
commission, and if I were to tell you that every Allied
leader feels likewise I would not be misleading you ; that
is the opinion that I have formed from my long association
with them.
I don't want to tire you out by citing more statements of
his to prove to you how inconsistent he is, but I would
suggest that a medal be struck to be pinned on his breast so
as to reward him for his ability to command attention in the
face of so many palpable inconsistencies.
And yet you should not misjudge Harry; he is nobody's
fool — he is a pretty smart fellow. And, being smart, he must
have reasons for his inconsistencies — for changing opinions
as often as the wind changes direction. All we can do is to
try to divine what makes him change his opinions. What
are the motives ? Let us analyze his actions :
In addition to owning a large number of theatres in this
territory, Harry has a booking corporation. To any theatre
that belongs to this corporation, he charges a weekly
booking fee.
To make this corporation as well as his theatres profit-
able, he must pay for film as cheap a price as possible, and
obtain the earliest play-dates available.
But how can he obtain these advantages? He surely can
not obtain them only by paying his bills promptly, for
others, too, can do the same thing. Besides, an exhibitor
has to pay for his film before he gets it ; or, at least, shortly
after he gets it. He can obtain these advantages, then, only
by rendering to the producers some special service.
And what is a better sen-ice than that of helping them
kill the Neely Bill? Formerly they employed Ed Kuyken-
dall for the purpose — Ed used to present himself to the
legislators, in Washington as well as elsewhere, as the
president of Motion Picture Theatre Owners of America,
a ponderous title, impressing the legislators with it, because
these did not know that M.P.T.O.A. was a subsidiary of
the producer's association. Rut now they know it. Conse-
quently, M.P.T.O.A. and Ed Kuykendall have ceased to be
of. value to them. And since they must have some one else
to do what Ed used to do, Harry comes in handy. Hence the
building up they arc giving him.
Do you doubt it ? Look at the trade papers : in the last
two months, the name of Ed Kuykendall has disappeared
from the news. And last October M.P.T.O.A. was to have
its annual convention ; but the producers vetoed it, per-
mitting only a meeting of the board of directors, giving the
saving of costs as an excuse.
(Continued on last page)
198
HARRISON'S REPORTS
December 16, 1939
"The Great Victor Herbert" with
Allan Jones, Walter Connolly
and Mary Martin
(Paramount, December 29; time, 90 mm.)
Fine entertainment I The production is extremely lavish
and the story, although not novel, has plentiful human
appeal. But more than anything else, it is Victor Herbert's
captivating music that makes the picture enjoyable, parti-
cularly since most of the songs are sung by Allan Jones
and Mary Martin charmingly. Older folk will thrill to the
music, for it will most likely bring back to them pleasant
memories. The younger generation, too, should enjoy it,
since the music is melodic. The most touching situation is
the one towards the end, where the hero inspires his daugh-
ter to achieve success; without being maudlin, this scene
stirs the emotions : —
Mary Martin, a small-town girl, who aspired to become
an actress, finds it difficult to interest in her talents any
manager. During a public celebration of Walter Connolly's
(Victor Herbert's) birthday, she accidentally becomes
acquainted with Allan Jones, popular singer, who had ap-
peared in all of Connolly's operettas. It is love at first sight.
Jones fights to gain recognition for Miss Martin, and finally
succeeds in inducing Connolly to engage her for his new
operetta. She becomes a star over night. Fearing that she
was over-shadowing her husband, Miss Martin decides to
give up the stage, particularly since she was expecting a
baby. But after the birth of the child, Jones' popularity
wanes. Thinking that she was hurting Jones' career, Miss
Martin leaves for Switzerland with the child. Two years
later she learns from Connolly that Jones was not success-
ful, as he had led her to believe, and that he owed a great
deal of money. She returns to America and becomes recon-
ciled with him. But things go from bad to worse and, to
make ends meet she gives singing lessons. When their
daughter is fourteen years old, Miss Martin decides to go
back on the stage in a revival of one of Connolly's operet-
tas. Jones, feeling he was in her way, accepts an engage-
ment in Australia ; he breaks the news to her on the opening
night of her play. The news so unnerves her that she loses
her voice. Her daughter (Susanna Foster), who had a
beautiful voice and knew the play perfectly, steps into her
mother's place. But she is so nervous that, during the first
act, she makes a poor showing. Jones, who was in the
audience, rushes backstage and, donning a costume, joins
the chorus and manages to get near to his daughter. His
presence so inspires her that she makes a tremendous hit.
The family is happly reconciled.
Andrew L. Stone and Robert Lively wrote the story, and
Russell Crouse and Robert Lively, the screen play ; Andrew
L. Stone directed and produced it. In the cast are Lee
Bowman, Judith Barrett, Jerome Cowan, John Garrick,
Pierre Watkin, and others.
Suitability, Class A.
"Two Thoroughbreds" with Jimmy Lydon
and Joan Brodel
(RKO, December 8; time, 61 mm.)
A fair program picture, suitable mostly for those who
enjoy stories about horses. The plot is, however, routine.
The picture's main attraction is the performance given by
young Jimmy Lydon, a mistreated orphan, who finds happi-
ness in his love for a horse. What the story lacks in action
and excitement is made up for in human appeal, for one
feels deep sympathy for the young boy : —
A famous horse is stolen from Selmer Jackson's racing
stables. Her young foal tries to follow the crooks' van and,
in so doing, becomes lost. The foal turns up next day on the
farm owned by Arthur Hohl and his wife (Marjorie
Main), and their young orphaned nephew (Jimmy Lydon)
is overjoyed, for he loved horses. Since he was mistreated
by his relatives and was lonesome, he felt that the horse
would bring him happiness. At first Hohl objects to
Lydon's keeping the horse, but when Jimmy suggests that
they might receive a reward for it, they permit him to keep
it. Jimmy goes around to the different farms to inquire if
they had lost the foal ; Jackson's stable hand, who had been
in on the robbery, naturally refuses to admit that they had.
And so Jimmy keeps the horse. Some time later, he becomes
acquainted with J. M. Kerrigan, who was Jackson's man-
ager. Kerrigan tells him how to care for the horse. Jimmy
accidentally learns about the theft, and realizes that his
horse was the missing foal. But he says nothing about it,
for he could not bear to part with the animal. Jackson's
young daughter (Joan Brodel), who had taken a liking to
Jimmy, visits him and sees the horse; she recognizes it
immediately. She urges her father to permit her to buy it
from Hohl without telling Jimmy that they knew about the
horse, for she felt certain that Jimmy would eventually tell
them the truth. The horse is injured, and Jackson orders him
to be shot. But Jimmy's tears and confession touch his
heart and he requests the vet to try to heal the horse's
broken leg. To the joy of Jimmy and Joan the horse re-
covers. Jimmy decides to stay on at Jackson's farm as a
stable hand.
Joseph A. Fields wrote the story, and he and Jerry Cady,
the screen play; Jack Hively directed it, and Cliff Reid
produced it.
Suitability, Class A.
"Inspector Hornleigh on Holiday" with
Gordon Harker and Alastair Sim
(20th Century-Fox, December 1 ; time, 77 min.)
This British- made picture is a pretty good murder mys-
tery melodrama, with plentiful comedy. The only drawback,
as far as the American masses arc concerned, is the fact
that the players are not known well here, and the accents
and settings are definitely British. Otherwise, the story
holds one in tense suspense throughout ; for one thing, the
identity of the head of the murder gang is not divulged
until the end, and, for another, the plot is developed in an
interesting and absorbing manner. Occasionally the action
becomes a bit far-fetched; but this is done in order to pro-
vide the comedy and may not be objectionable. There is no
romance : —
While vacationing at a seaside resort, Gordon Harker, a
Scotland Yard inspector, and his assistant (Alastair Sim)
are called upon to identify the body of one of their fellow-
roomers (Edward Chapman), whose car had fallen from a
cliff. Once the rural police officer discovers their identity
he asks them to help him with the investigation. Harker
feels certain that it was murder. During the investigation,
they are amazed to discover that Chapman was alive ; but
before they could interrogate him, he is murdered. Harker
finally proves that Chapman had been part of a gang that
had been defrauding insurance companies. The members of
the gang were all heavily insured ; they would obtain bodies
of persons who had died, identifying them later as members
of their gang. They would then collect the insurance.
Chapman was killed because he had tried to double-cross
the leader. Harker further reveals that the leader, though
a man, was posing at a hospital as a matron, thus making it
easy for him to obtain bodies. The gang is broken up and
the members and the leader arrested.
Sidney Gilliat wrote the screen play, Walter Forde di-
rected it, and Edward Black produced it. In the cast are
Linden T ravers, Wally Patch, and others.
Not for children. Suitable for adolescents and adults.
Class B.
"Escape to Paradise" with Bob Breen,
Kent Taylor and Maria Shelton
(RKO, December 22 [1938-39] ; time, 62 mm.)
Just a mildly entertaining program picture. The story is
trite, the action slow, and the dialogue stilted. Too much
of the dialogue is spoken in Spanish, making it unintelligible
to American audiences. About the only thing in its favor
is Bob Breen's singing ; his voice still exerts a strong appeal
to many picture-goers. The romance is routine : —
While on a world cruise, Kent Taylor stops off at a
small South American town, going ashore in order to avoid
the unwanted attention of one of the passengers. He acci-
dentally meets Maria Shelton, whose father was one of the
leading citizens of the town, and decides to leave the cruise
so as to win her affections. Bob Breen, who ran a motor-
cycle-taxi service, becomes acquainted with Taylor and
advises him as to how to proceed with the romance. Breen
spreads the tale that Taylor was planning to buy most of
the mate produced in the town, thus bringing wealth to
every one. Taylor does buy a small quantity, just to get in
right with Miss Shelton's father (Pedro deCordoba). But
when he realizes that he was expected to buy their entire
output, he is flabbergasted for he had no need of the mate,
the first batch of which he had shipped to a friend in New
York. Just as he was preparing to leave the country, dis-
graced in the eyes of the natives, he receives a cable in-
forming him that the mate was an excellent buy and that
he was authorized to buy the entire output. Everyone is
made happy; and Taylor and Miss Shelton are united.
Ian Hunter and Herbert C. Lewis wrote the story, and
Weldon Melick, the screen play ; Erie C. Kenton directed
it, and Barney Briskin was associate producer, and Sol
Lesser producer. In the cast are Joyce Compton, Robert O.
Davis, Rosina Galli, and others.
Suitability, Class A.
December 16, 1939
HARRISON'S REPORTS
199
"All Women Have Secrets" with
Jean Cagney and Joseph Allen, Jr.
(Paramount, December 15; time, 68 min.)
A mildly entertaining program picture. Although it has
a collegiate background, the story does not go in for sports
or music, but centers instead on the marital difficulties of
three young couples, students at the college. Since the plot
is not unusual, one's attention lags at times. As a matter of
fact, whatever interest one has in the characters is due to
the engaging performances given by the players : —
Three couples — Joseph Allen, Jr., and Jean Cagney,
Peter Hayes and Virginia Dale, and John Arledge and
Betty Moran — all students at the same college, decide to
marry, even though they were without funds. In order to
continue with their studies, the men find jobs to do in their
spare time. This works a hardship on Allen, since he could
not find time to do research work in chemistry, thereby
endangering his chances of winning a scholarship. Miss
Cagney takes things into her own hands ; she gets a night
job as a singer in a cafe. But she is forced to give this up
when she finds out she was going to have a baby. Knowing
that Allen would sacrifice his career if he knew the truth,
she refrains from telling him. But when he imparts to her
the news that his chemistry professor had won a large sum
in prize money and that he wanted to take him to Europe
for a year's research work, Miss Cagney decides to run
away. She is prevented from doing this, for she receives a
hurry call from Arledge, whose wife was about to have her
baby. After the baby is born, Miss Cagney goes back to her
apartment, where she finds Allen, who had read the note
she had left, quarrelling with the professor. He refused to
go to Europe and was insisting on leaving college so as to
support his wife. But the professor solves the problem by
offering to pay the young couple's expenses until Allen
graduates.
Dale Eunson wrote the story, and Agnes C. Johnston, the
screen play ; Kurt Neumann directed it. In the cast are
Janet Waldo, Lawrence Grossmith, Una O'Connor, Kitty
Kelly, and others.
Suitability, Class A.
"The Llano Kid" with Tito Guizar
(Paramount, December 8 ; time, 69 min.)
This remake of the 0. Henry story, "The Double Dyed
Deceiver," is a fair program melodrama with incidental
music. It cannot be classed in the same category as a west-
ern. The pace is leisurely, all the excitement being concen-
trated in the closing scenes, where the hero, a former bandit
who had reformed, outwits the criminal forces. Since the
hero is at first presented as a bandit, one naturally is
against him ; but his gradual reformation wins one's sym-
pathy. The romance is pleasant: —
Tito Guizar, an outlaw, holds up a stage coach, stealing
from it a Wells Fargo gold shipment. Gale Sondergaard,
one of the passengers, dares to look at him ; he boldly kisses
her. That evening he shows up in town and goes to the
saloon ; he felt safe, for no one, aside from Miss Sonder-
gaard, knew what he looked like. He gets into a poker game.
Noticing that the dealer was cheating, he objects, and then
shoots and kills the man in self defense. The Sheriff frees
him on that charge ; suspecting, however, that he was the
notorious bandit, he asks Miss Sondergaard to identify him.
But she pretends not to recognize him, first, because she
was attracted to him, and, secondly, because she felt he
would fit into a plot she and her husband (Alan Mowbray)
were hatching. He enters into their plan, which was to
present him as the long-absent son of Emma Dunn, a
wealthy Mexican ranch owner. The idea was to gain pos-
session of her wealth, which they would share. Guizar poses
as the long-absent son and is accepted, but under the in-
fluence of Miss Dunn and of her ward (Jane Clayton),
whom he was supposed to marry, he changes for the better.
He discovers that the man he had killed was the legitimate
son. The Sheriff, whom he had eluded, catches up with him,
ordering him to tell Miss Dunn the truth. But, before
Guizar could confess, Mowbray and his gang start a raid
on the ranch, their purpose being to steal all the money and
the valuables. Guizar and the Sheriff prevent them from
doing so. The Sheriff, realizing that Guizar had changed
and that he had brought happiness to Miss Dunn, decides to
forget everything and leaves.
Wanda Tuchock wrote the screen play, Edward D. Ven-
turini directed it, and Harry Sherman produced it. In the
cast are Minor Watson, Harry Worth, Anna Dctnctrio,
Chris Martin, and others.
Not for children. Suitable for adolescents and adults.
O ass B.
"Barricade" with Alice Faye
and Warner Baxter
(20th Century-Fox, December 8; time, 71 min.)
An artificial plot, developed in a ponderous way, makes
this melodrama just passable entertainment. It is only in
the closing scenes where anything exciting occurs; there
one is held in suspense. This is hardly the type of picture
one expects to see Alice Faye in ; she is given no chance to
display her musical talents. This may disappoint her fans.
Moreover, the character she portrays is an unsympathetic
one ; and so is that which is portrayed by Warner Baxter.
Charles Winninger is the only one for whom one feels
sympathy : — •
Miss Faye and Baxter, two passengers on a train, learn
that Mongolian bandits had invaded the town ahead and
that the train would have to go back. Not wanting to go
back, Miss Faye leaves the train and walks through war
zones, finally arriving at the compound of an American
consul, who, together with his staff, were menaced by the
bandits. In order to get a passport to America, she assumes
a Russian accent; she tries to win the sympathy of the
Consul (Winninger), by telling him a sad story of the
death of her "husband." She is surprised to find Baxter a
guest at dinner that night. She and Baxter are drawn to
each other. She drops the accent and tells him about her-
self— that she had killed a man and that she wanted to get
back to America. Thrilled at the bravery displayed by Win-
ninger in bringing people from the English mission to the
compound, Baxter, a newspaper reporter, decides to get
word of their plight to the newspapers. He and Miss Faye
risk their lives by leaving the compound, but they reach the
deserted telegraph office and Baxter succeeds in sending the
message through. They are spotted by the bandits ; yet they
manage to get back to the compound safely. But the bandits
start attacking. Realizing that they would be killed, Win-
ninger orders every one to hide in the cellar. The bandits
force an entrance, but are amazed to find no one in the
house. The cry of one of the children gives their hiding place
away. But Nationalist Army troops, who had been in-
formed by newspapers about the situation, arrive in time to
capture the bandits. Winninger receives recognition for
his bravery. And Miss Faye and Baxter decide to marry.
Granville Walker wrote the story and screen play.
Gregory Ratoff directed it, and Edward Kaufman pro-
duced it. In the cast are Arthur Treacher, Keye Luke,
Willie Fung, Doris Lloyd, and others.
Because of the confession of murder it is unsuitable for
children. All right for adolescents and adults. Class B.
"Nick Carter, Master Detective" with
Walter Pidgeon and Rita Johnson
(MGM, December 15 ; time, 59 mm.)
A pretty good program action melodrama. Although the
story is not novel, it has been developed with a few inter-
esting twists and, since the action is fast, one's attention is
held well throughout. There is plentiful comedy, too, which
is provided by a nit-wit character who imagines himself to
be a great detective and insists on following the hero on
important sleuthing work. The romance is incidental but
pleasant : — ■
Walter Pidgeon, a famous detective, arrives at an aero-
plane factory and is introduced as the new assistant to the
manager ; no one knew his identity. His work was to un-
cover the gang that was operating in the factory, stealing
valuable plans and committing sabotage. Several persons
are suspected, mainly Henry Hull, the inventor of the new
valuable machine. But this suspicion is cast aside when
Pidgeon finds Hull murdered. In Pidgeon's eyes every one
is a suspicious character, even Rita Johnson, an airline
hostess; but she proves to him that he was wrong about
her. He takes her into his confidence, asking her to work
with him. He finally solves the case by showing that the
company doctor (Stanley Ridges) had been at the head of
the spy ring, and that he had gotten pictures of the plans
out of the factory by inserting them in bandages used on
such injured workers as were members of his gang. With
the work finished, Pidgeon turns his attentions to Miss
Johnson ; he had rescued her from the spy gang that was
holding her, trying to force Pidgeon to come to terms with
them, threatening otherwise to kill Miss Johnson.
Bertram Millhauscr and Harold Buckley wrote the story,
and Bertram Millhauscr, the screen play; Jacques Tour-
neur directed it, and Lucien Hubbard produced it. In the
cast arc Donald Meek, Addison Richards, Milburn Stone,
Sterling Halloway, and others.
Suitability, Class A.
200
HARRISON'S REPORTS
December 16, 1939
In last week's issue I stated that the Neely Bill is sure to
be passed by the House of Representatives. The producers
know tins and they are grasping at Harry to help thtm kill
it just as a drowning man grasps at a straw. The title,
"President of Independent 1 heatre Owners Association
of New York" sounds impressive, and they hope that they
may awe the national legislators enough to make them
listen to what Harry says regarding the Neely Bill. It is a
one hundred to one chance ; but what have they to lose ?
REGARDING "DISRAELI"
In the editorial "the Producers' I'ondness lor Remakes,"
which appeared in the November 25 issue of this publica-
tion, I criticized Warner Bros, for remaking "Disraeli," on
the ground that it has already been produced twice, and
that the story is nothing to brag about. In reply to this
criticism, Mr. Charles Emfeld, Director of Advertising and
Publicity for the Warner organization, has written me as
follows :
"Dear Pete:
"I note that in your issue of Nov. 25, you take exception
to the Warners' plan to produce 'Disraeli.' It so happens
that I know something about the story now being prepared
and am passing this on to you because I realize that you are
always interested in learning the facts.
" 'Disraeli' is being handled from an entirely new angle
in the version now being readied. Instead of Arliss, a much
younger and more attractive fellow, Laurence Olivier, will
play the prime minister and, incidentally, 'The Prime Min-
ister' is the new title of the picture.
"In contrast with the other versions, this one will go into
Disraeli's boyhood and youth and will have a powerful
love story which never before has been treated. Charming
Geraldine Fitzgerald will afford the feminine romantic in-
terest opposite Olivier and this love element should vastly
widen the picture's audience appeal.
"Altogether, 'The Prime Minister' is planned as a
definitely fresh presentation of the subject. My authorities
are Michael Hogan, writer of 'Nurse Edith Cavell' for
RKO, and Aeneas MacKenzie, who are working on the
script of this picture. Incidentally, they are two of Holly-
wood's top writers."
Since my criticism was done with a constructive purpose,
I am glad to reproduce Mr. Einfeld's letter for the informa-
tion of the exhibitors.
PICTURES NOW IN PRODUCTION
RKO
(Continued from lastzveek)
"The Marines Fly High," with Richard Dix and Chester
Morris, with Robert Sisk producing and Ben Stoloff di-
recting. It will no doubt be an action picture, the box office
success of which will be commensurate with the popularity
of Mr. Dix, helped by Chester Morris.
"The Primrose Path," with Ginger Rogers, Joel McCrea,
Marjorie Rambeau and Vivian Osborn, produced and di-
rected by Gregory LaCava. The play, upon which this
picture has been founded, was pretty "dirty." But RKO has
informed this office that the play has been altered radically
so as to take all "dirt" out of it ; and since two popular
players are in the leading parts the picture should prove
either a good or a very good box office attraction.
"The Saint's Double Trouble," with George Sanders,
Helen Whitney, Bela Lugosi, and Jonathan Hale, produced
by Cliff Reid and directed by Jack Hively. A double-bill
program picture.
Twentieth Century-Fox
"Young As You Feel," with the Jones Family series cast,
produced by John Stone and directed by Mai St. Clair :
Program (already finished).
"Shooting High," with Jane Withers and Gene Autry,
produced by Sol M. Wurtzel and directed by Alfred Green.
(Already finished.) Nothing is known of the story, but in
view of the fact that Jane Withers draws pretty well, and
Gene Autry is the best western box office star, the picture
should do well at the box-office, or even very well if the
story should be good.
"The Bluebird," with Shirley Temple, produced (in
technicolor) by Gene Markey and directed by Walter Lang
(already finished). The Maeterlinck book, upon which the
plot of this picture has been founded, was produced in the
silent days (1918) by Paramount. Although it turned out
a highly artistic picture, it did not do well at the box office,
because it is a fairy tale, and pictures based on such tales
were not popular in those days. How it will fare this time it
is hard to tell definitely before the picture opens. Twentieth
Century-Fox is going to roadshow it, and in view of the
fact that the picture has been produced in color, it is
probable that it will do well, in spite of the fact that Miss
bhirley has lost a great deal of her popularity.
"Little Old New York," with Alice Faye, Richard
Greene, Fred AlacMurray, Brenda Joyce, Andy Devine and
Henry Stephenson, produced by Raymond Griffith, and
directed by Henry King. (In view of the fact that on
November 4 tl e picture was in production 3/ days, it has
undoubtedly bten completed by this time.) This story was
produced once before, by Cosmopolitan-Paramount, with
Marion Davics in the leading part, hidney Olcott directed
it. The picture turned out excellent — the best that Marion
Davies had been in up to that time, and made an excellent
success at the box office. The present cast, too, is popular,
and with the alterations that have undoubtedly been made in
the story it should go over well.
"The Grapes of Wrath," the Steinbeck novel, with Henry
Fonda, Jane Darwell and others, produced by Nunnally
Johnson, and directed by John Ford. This picture has
created considerable discussion in the industry — as to
whether it could or could not make a good picture. The
story material is not suitable for picture purposes, but con-
sidering the big price Zanuck paid for the book, and the
fact that it is a best seller, radical alterations have un-
doubtedly been made in the plot. Its success, however, will
depend, as a box office attraction, almost wholly on the
sensation that the book has created ; as an entertainment, on
the alterations that have been made in the plot.
"Charlie Chan at Panama," with the usual cast, produced
by Sol Wurtzel and directed by Norman Foster. The usual
program stuff.
United Artists
"Rebecca," the Daphne Du Maurier best seller, with
Laurence Olivier, Joan Fontaine, Judith Anderson, Gladys
Cooper, George Sanders, Nigel Bruce, Reginald Denny,
C. Aubrey Smith, Melville Cooper, and others ; produced
by David O. Selznick, and directed by Alfred Hitchcock.
(Probably finished by this time.) It should turn out a very
good to excellent box office attraction.
A Chaplin Production. (On November 25 it was 63 days
in production.) Nothing is known of the nature of the story
and, despite Chaplin's old fame, this picture's success will
depend mostly on the freshness of the comedy gags.
"House Across the Bay," with Joan Bennett, George
Raft, Gladys George, Walter Pidgeon, Lloyd Nolan, and
others, produced by Walter Wanger, and directed by Archie
Mayo (undoubtedly finished). It is the story of a girl who
falls in love with a mysterious young man and marries him ;
later it turns out that, not only there was a Federal tax
charge against him, but also his life was in danger because
of his past connections with politicians of shady reputation.
It is an unhappy story, the kind that can hardly make a
happy picture, unless altered radically.
Universal
"The Invisible Man Returns," with Sir Cedric Hard-
wicke, Vincent Price, Nan Grey, and others, produced by
Ken Goldsmith, and directed by Joe May (finished). In all
probability it is a copy of "The Invisible Man," produced
by this company several years ago. That picture turned out
amusing, and fared well at the box office.
"Charlie McCarthy, Detective," with Edgar B-ergen and
his famous dummy, and with Constance Moore, Mortimer
Snerd, Robert Cummings, Warren Hymer, Harold Huber.
Edgar Kennedy, Granville Bates, and others, produced and
directed by Frank Tuttle. It should prove a sure hit.
"My Little Chicadee," with Mae West, W. C. Fields,
Joseph Calleia, Dick Foran, Anne Nagel, Billy Benedict,
and others, produced by Lester Cowan, and directed by
Edward Cline. With some good luck in production, the pic-
ture should turn out a box-office sensation.
"The Road to Romance," with Tom Brown, Peggy
Moran, Isabel Jewell, Juanita Quigley, Allen Jenkins, and
Donald Meek. A good program picture.
Warner Bros.
"The Life of Dr. Ehrlich," with Edward G. Robinson.
Ruth Gordon, Otto Kruger, Maria Ouspenskaya, Donald
Crisp, Donald Meek, Montague Love, John Mil j an, Henry
O'Neil and others, produced by Wolfgang Reinhardt, and
directed by William Dieterle (probably finished by this
time). The story derls with the famous bacteriologist, dis-
coverer of Salvarsar. In view of the strong cast and of the
capable director, the picture should turn out a very good
box office attraction.
(To be continued next week)
Entered as second-class matter January 4, 1921, at the post office at New York, New York, under the act of March 3, i879.
Harrison's Reports
Yearly Subscription Rates: 1270 SIXTH AVENUE Published Weekly by
United States $15.00 Room 1 «1 9 Harrison's Reports, Inc.,
U. S. Insular Possessions. 1G. 50 ivoom ioi£ Publisher
Canada 16.50 New York, N. Y. P. S. HARRISON, Editor
Mexico, Cuba, Spain 16.50 , „, .. _. . _ . .
Rr;t„ln 1=7= A Motion Picture Reviewing Service
Australia New ' Zealand,' Devoted Chiefly to the Interests of the Exhibitors Established July 1, 1919
India, Europe, Asia .... 17.50 _. . , _ ,. __ _ _. .
' Its Editorial Policy: No Problem Too Big for Its Editorial Circle 7-4622
■>oc a Copy Columns, if It is to Benefit the Exhibitor.
A REVIEWING SERVICE FREE FROM THE INFLUENCE OF FILM ADVERTISING
Vol. XXI SATURDAY, DECEMBER 23, 1939 No. 51
A NEW ATTEMPT TO REACH SCREENS
FOR ADVERTISING PURPOSES
An offer to flash spot news on the theatre screens for the
purpose of selling space and time to national advertisers has
been made by Theatre Communications, Inc., of New York,
to the newspaper publishers of the State of Pennsylvania,
manifestly as a test, so that, if those publishers should ac-
cept the scheme, it might be offered to the publishers of all
other states.
The scheme is practically as follows : Through the facili-
ties, whatever these are, of Transradio Press and Bell
Telephone, this company will make available to the picture
theatres of the State of Pennsylvania a series of news
events, international as well as national, to be shown be-
tween programs.
In cities of 100,000 inhabitants or fewer, there will be fur-
nished service for the two evening performances, whereas in
cities of more than 100,000, there will be delivered from
three to six newscasts, at two hour intervals, between the
hours of 10 a.m. and 10 p.m.
The screening of news that reaches too late for printing
in the evening papers will be limited to three minutes.
Theatre Communications will not accept advertising from
local merchants unless sponsored by one of the local papers,
but will not require newspaper approval on national
advertising.
Such is in substance the plan.
I have asked for an interview from the president of this
concern in order that I might obtain additional details, but
my letter has remained unanswered.
I could not, of course, advise you against subscribing to
such a service, for after all it will be you who will have to
make the decision, but I do want to place before you facts
that will, I hope, enable you to reach a correct decision :
Certain newspaper associations have sent me their con-
fidential bulletins dealing with this matter and the indica-
tion is plain that the newspaper publishers, not only of the
State of Pennsylvania, but also of every other state, are
opposed to this or any other similar plan. One bulletin,
after criticizing the scheme, wrote as follows :
"It is suggested that every publisher receiving a request
from Theatre Communications along the above-mentioned
line protest to their theatres against any such scheme. . . .
Please advise the Central OfHce as to results."
It is hardly necessary for me to tell you how the news-
paper publishers will view any attempt on your part to turn
your exhibition screen into also an advertising screen ; you
know better than any one else that, when you so turn it, you
become a competitor to the newspapers, for you deprive
them of revenue that is justly theirs.
The newspapers of the nation have been good friends to
the motion picture industry and it would be ill-advised if
you were to repay them with ingratitude. And you have not
ceased needing their moral support. What would they say
to you if, in the event that you turned your exhibition
screen also into an advertising screen for national products,
you went to them and asked them for their moral support
on an issue that might affect the interests of the motion
picture industry vitally?
Since you need their moral support every day, Harri-
son's Reports advises you to keep their good will.
THE PERENNIAL HARRY BRANDT
Curiosity to find out whether Harry Brandt, president of
the so-called I.T.O.A. of this city, had any new argument
to expound against the Neely Bill, or any new thoughts to
advance for the betterment of the independent exhibitor
lot, drove me to Philadelphia, to attend the luncheon that
had been arranged for him by Jay Emanuel, publisher of
"The Exhibitor."
It is hardly necessary for me to tell you that I found
Harry the same fellow that I have known for a long time :
he takes a false premise, builds a story on it and, with his
fair "gift of gab," clothes it with verisimilitude; that is,
gives it an appearance of truth.
Let us take one or two cases from among those that I
jotted down during his speech:
The Neely Bill, if enacted into a law, will, he charged,
put out of business, not only every exhibitor, but also every
producer-distributor — "even MGM." As a matter of fact,
he was so convinced of it that he offered to Al Steffes.
whom he met recently in Chicago, that they submit the Bill
to a lawyer and if that lawyer did not opine that it would
do just what he, Harry, claimed it would, he would be
willing to join forces with Allied to fight for its passage.
The law profession certainly ought to feel grateful for the
high opinion he has of the judgment of all lawyers, but you
can see for vourself how fallacious is his argument against
the Bill.
Harry told the audience that, when he first read the Bill,
he was so worked up, that he, in order to make sure that his
senses did not deceive him, gave it to his wife to read. He
did not tell us what Mrs. Brandt's opinion was after reading
it, but I wonder whether he consulted her before making
this tour. I doubt it. If he had, I am sure that she would
have advised him against it.
Harry said that 90% of the exhibitors have not read
the Bill, and one-half of those who have read it do not
understand it.
I don't know where he has obtained his figures from, but
I am inclined to believe that he is amongst the one-half of
the 10% who do not understand it. Do you want proof?
Here it is : In his speech he advocated the defeat of the
Bill on the ground that the Government will have to appoint
supervisors to see that its provisions are not violated; and
supervision will eventually mean regulation. Now, I ask
you : where in the Bill is there a provision for government
supervisors? There is none! Do you disagree with me.
then, when I say to you that, among the 10% who have
read the Bill, Harry belongs to the one-half who do not
understand it?
So, as you see, Harry took a false premise and, with an
emotional outburst of a Billy Sunday, tried to make you
believe that vour salvation lies in the defeat of the Neelv
Bill.
He said that not one exhibitor wants the elimination of
block-booking. Comment on this statement is hardly neces-
sary; even Harry himself must have realized that his
oratory carried him away when he made that statement.
There are other similar statements that he nude ; but
what I have discussed is enough, I feel sure, to prove to
vim that there is no substance in his arguments against the
Neely Bill.
(Continued on last page)
202
HARRISON'S REPORTS
December 23, 1939
"The Hunchback of Notre Dame" with
Charles Laughton and Maureen O'Hara
(RKO, December 29; time, 116 min.)
Very good ! Audiences should be thrilled anew by this
lavish remake of Victor Hugo's famous novel. As in the
first version, the spectator should be awed by the remark-
able reproduction of the famous Notre Dame Cathedral, by
the thrilling mob scenes, and by the massiveness of the
whole production, and thrilled by the exciting action, and
by the excellent performances. Charles Laughton's makeup
as Quasimondo the hunchback is so hideous that at first it
repels one. But as the story develops one begins to feel
intense pity for him and one thus forgets his ugliness.
Laughton gives an outstanding performance. The scene in
which he cries out against his ugliness is touching. And so
is the situation in which he is whipped in the public square.
There are scenes that excite one, others that make one
laugh, and still others that hold one in tense suspense. The
closing scenes are the most thrilling. The action takes place
in Paris, during the old days of superstition, ignorance,
and tyranny : — ,
The King of France (Harry Davenport) is broad-
minded and expresses joy when he hears that the mob was
becoming restless and tired of the tyranny of the nobility.
But the bigoted Chief Justice of Paris (Sir Cedric Hard-
wicke) warns him that people should be ruled with an iron
hand. For the first time in his life the Justice becomes
enamored of a woman, of Esmeralda (Maureen O'Hara),
a young gypsy girl ; but she refuses his attentions, turning
her eyes instead on a handsome army officer (Alan Mar-
shal). The Justice orders Quasimondo (the hunchback) to
abduct Esmeralda. But the mob catches him ; they rescue
Esmeralda and arrest Quasimondo, whom they beat in the
public square. Esmeralda alone shows pity for him by
giving him water. That kind gesture on her part makes
Quasimondo her slave. The Justice, finding Esmeralda with
the officer, kills the man. Esmeralda is held for the murder,
tried, and convicted. She is sentenced to be hung. The
Justice confesses to his brother, the Archbishop (Walter
Hampden), but tells him that the girl must die, because
she was a witch. On the day of the execution Quasimondo
risks his life to save her : by swinging from the cathedral
tower to the scaffold, he grabs Esmeralda and swings her
back to the tower. He knew that, while she was in the
church, she was safe. The King of Beggars (Thomas
Mitchell), mistrusting the nobles and fearing they would
kill Esmeralda, calls together his men to save her. A young
poet (Edmond O'Brien), who loved Esmeralda, pleads with
the Beggar King to wait until he could see the King about
a pardon; but the Beggar King refuses to wait. When
Quasimondo sees the mob approaching, he thinks that they
wanted to get Esmeralda so as to hang her. He goes mad.
He throws rocks down on them, finally pouring molten lead
down on them, killing many. The Justice sneaks up to the
tower to get the girl, but Quasimondo grabs him and hurls
him to his death. The mob is finally subdued, and Esmer-
alda is pardoned, for the Archbishop had told the King the
truth. Esmeralda and the poet are united.
Sonya Levien wrote the screen play, William Dieterle
directed it, and Pandro S. Berman produced it. In the cast
are Katharine Alexander, Minna Gombell, Arthur Hohl,
and others.
Too terrifying for children. Suitable for adolescents and
adults. Suitability, Class B.
"Joe and Ethel Turp Call on the President"
with Ann Sothern, Lewis Stone
and William Gargan
(MGM, December 1 ; time, 70 min.)
A fair little program picture, with human appeal and
comedy. The story is thin and somewhat dragged out. But
it has moments that are delightful, mainly because of the
competent performances. Ann Sothern and William Gar-
gan, as the plain Brooklyn couple who demand their rights
as citizens to see the President of the United States, provide
most of the comedy by their slang expressions and tough
manner ; at the same time one feels sympathy for them.
In the development of the plot, Miss Sothern and Gargan
are enraged when Walter Brennan, the district mailman,
who had covered the route for many years, is arrested on a
charge of having destroyed a letter addressed to Marsha
Hunt. Being unable to get any satisfaction from local
politicians, Miss Sothern and Gargan decide to go to
Washington to put the case before the President. Their
insistence wins for them an audience with the President
(Lewis Stone). They tell him the story about Brennan —
that he had always loved Miss Hunt, who had married
some one else. When her husband had died, he had helped
her bring up her young son. But the boy turned out bad and
left home. Knowing that Miss Hunt idolized her son,
Brennan used to write her letters signed by the son, telling
the mother about his success. In that way she did not know
that he was a criminal. When a letter had arrived for Miss
Hunt from the Government, informing her that her son
had been killed during an attemped prison break, Brennan
had destroyed the letter, so as not to upset the mother, who
was ill. She had died, happy in the thought that her son was
successful. But Brennan had been arrested. The President,
touched by the story, effects Brennan's release and every
one is happy.
Damon Runyon wrote the story, and Melville Baker, the
screen play ; Robert B. Sinclair directed it, and Edgar
Selwyn produced it. In the cast are Tom Neal, James Bush,
Don Costello, and others.
Suitability, Class A.
"Thou Shalt Not Kill" with Charles
Bickford, Owen Davis, Jr.,
and Doris Day
(Republic, December 22; time, 67 min.)
A depressing program picture. The story idea reminds
one of "Full Confession," for here, too, a man, fearing that
he was going to die, confesses that he had committed a
murder for which an innocent man was being tried, but
upon recovery refuses to give himself up to the authorities.
There is a religious conflict, too, for the confession had been
made to a Protestant minister who, out of respect for the
Catholic law, is compelled to maintain silence even though
he thought it was unjust. The same system is followed as in
"Full Confession" — that of having the minister hound the
guilty man into confessing. The part of the story that per-
tains to the murder and the attempt of the murderer to kill
also the minister is extremely unpleasant. The action is
harrowing, for it is not until the end that the murderer
finally confesses. Aside from the story, the production
values are good, and the acting competent.
George Carleton Brown wrote the story, and Robert
Presnell, the screen play. John H. Auer directed it, and
Robert North produced it. In the cast are Paul Guilfoyle,
Sheila Bromley, Charles Waldron, Charles Middleton, and
others.
Unsuitable for children and adolescents. Adult fare.
Class B.
"Mexican Spitfire" with Lupe Velez,
Donald Wood and Leon Errol
(RKO, January 12; time, 67 min.)
This comedy may not have the names to draw crowds to
the box-office, but once in the theatre there is no doubt that
patrons will enjoy it immensely. The story is silly, serving
merely as a framework to put over the gags. But there are
so many comical situations that one is kept laughing almost
throughout. It should go over particularly well in crowded
theatres ; audiences will probably laugh so heartily that
many of the lines will be lost. The story is supposedly a
continuation of "The Girl From Mexico," produced last
year by RKO, and the same players appear here. Again
Lupe Velez and Leon Errol team up in the comedy situa-
tions, which they handle expertly : —
Lupe Velez and Donald Wood return from their honey-
moon and are greeted affectionately by Errol, Wood's uncle.
But Errol's wife (Elisabeth Risdon) and Wood's former
fiancee (Linda Hayes) scheme to disrupt the marriage.
Wood is on the verge of signing an important contract with
a British Lord (played also by Errol), but Miss Velez,
innocently breaks up the conference. Wood invites the Lord
to his home for dinner. Miss Risdon suggests that Miss
Hayes pose as Wood's wife, since the Lord had seen Miss
Velez in Wood's office and had mistaken her for a stenog-
rapher. Knowing that the Lord had decided not to attend
the dinner, Miss Velez suggests that Errol impersonate
him and embarrass Miss Hayes. The scheme works well
until the real Lord actually arrives. Then the trouble begins.
Miss Velez and Errol flee to Mexico, where she obtains a
Mexican divorce. They return to America the day before
Wood had planned to marry Miss Hayes. A chance meeting
between Wood and Miss Velez makes them realize they
still loved each other, and so Miss Velez is overjoyed when
she receives a telegram telling her that her divorce was not
legal. She breaks up the wedding, where the ceremonies
end by everyone throwing cakes and food at each other.
Joseph A. Fields wrote the story, and he and Charles E.
Roberts, the screen play ; Leslie Goodwins directed it, and
Cliff Reid produced it. In the cast are Cecil Kellaway and
others.
Suitability, Class A.
December 23, 1939
HARRISON'S REPORTS
203
"Everything Happens at Night" with
Sonja Henie, Ray Milland and
Robert Cummings
(20th Century-Fox, December 22 ; time, 77 min.)
Fair entertainment. During the first thirty minutes the
spectator is kept amused by the witty dialogue and comical
situations. But the moment the plot turns from comedy to
drama, it becomes so muddled and far-fetched, that the
spectator is bored. Miss Henie is charming; she does only
one skating routine, but that is sufficient, for it is long and
excellent. This routine is a solo performance ; there are no
group skating scenes. The three leading players struggle
valiantly with the material, but there is not much that they
can do to awaken interest in the artificial story : —
Ray Milland and Robert Cummings, newspaper reporters
working for rival chains, receive instructions to go to
Switzerland, there to investigate the rumor that a certain
professor, former Nobel prize winner, supposedly dead, was
alive and living in Switzerland. They accidentally meet
Sonja Henie, who tells them that she was a nurse and that
her patient, an elderly man, would not permit visitors in his
home. Cummings discovers that Miss Henie's "patient" was
in reality the missing professor ; he telegraphs the news to
his paper. But Milland, through a trick, has the telegram
switched to his syndicate. Upon learning the following day
that the professor was Miss Henie's father and that his life
was in danger once his identity became known, Milland and
Cummings are conscience-stricken. The arrival of four
members of the Gestapo makes them realize the danger, for
it was evident that their arrival signified a death warning
for the professor, who knew too much about the political
setup of their country. Milland and Cummings manage to
get the professor and Miss Henie to Paris ; once there
Cummings makes arrangements for Miss Henie and her
father to sail with him to America. Milland, in an effort to
get rid of Cummings, arranges with some one to snatch
Miss Henie's bag at the wharf ; then he and Cummings
rush after the "thief." Cummings gets back to the boat in
time, but Milland is held by the police, who had seen him
talking to the "thief." He is finally released and obtains
the bag ; but the boat had sailed. The professor shouts to
Milland that the bag contained his memoirs, which Milland
could use ; this meant a scoop for him. Cummings is con-
tent with the fact that he had won Miss Henie.
Art Arthur and Robert Harari wrote the screen play,
Irving Cummings directed it, and Harry Joe Brown pro*
duced it. In the cast are Maurice Moscovich, Leonid
Kinsley, Alan Dinehart, Fritz Feld, and others.
Suitability, Class A.
"Balalaika" with Nelson Eddy
and Ilona Massey
(MGM, December 29; time, 101 min.)
Patrons who like operettas should enjoy this picture, for,
in addition to the good music, it has comedy, and romance,
and has been produced lavishly. The story is, however,
stereotyped, resorting to the familiar pattern of the Prince
who loves a commoner, hides his identity in order to win
her love, and finally reveals himself, thereby causing a
break in the romance, with reconciliation following eventu-
ally. It is due mostly to the good performance given by
Ilona Massey that one remains interested in the action ; not
only is she charming, but she sings well and acts engag-
ingly. The background is Russia of the pre-revolutionary
days : —
Nelson Eddy, a Prince and Colonel of the Cossacks,
meets and falls in love with Miss Massey, a young singer in
a cafe. She falls in love with him, not knowing of his title.
Her father and brother, both members of a revolutionary
party, are at first suspicious of Eddy, but they learn to
trust him. Miss Massey learns the truth, when, during a
Cossack raid to break up a meeting at which her brother
was speaking, she sees Eddy leading the Cossacks ; her
brother is killed. At first she refuses to see Eddy ; but he
forces an entrance into her home, assures her of his love,
and promises to resign from the Army. But war breaks out,
and the lovers are parted. After the war, Eddy and his
royal friends, including his father, arc employed in a cafe
in Paris owned by Charles Ruggles, Eddy's former orderly.
At a celebration of the Russian New Year, at which
Ruggles entertains the Russian exiles in a manner similar
to the old days, Miss Massey arrives unexpectedly. There
is a happy reunion between the lovers.
Eric Maschwitz wrote the story, and Leon Gordon,
Charles Bennett, and Jacques Dcval, the screen play ;
Reinhold Schunzel directed it, and I^awrcnce Weingarten
produced it. In the cast are Frank Morgan, Lionel Atwill,
C. Aubrey Smith, Joyce Compton, and others.
Suitability, Class A.
"Married and In Love" with Alan Marshal,
Barbara Read, Patric Knowles
and Helen Vinson
(RKO, January 19; time, 58 min.)
This actionless marital drama, with a triangle twist, is
just a mild program picture, limited in its appeal. For one
thing, the players are not strong box-office attractions;
and, for another, the story is routine. The plot is developed
by means of dialogue, and is, therefore, slow in its develop-
ment. With the exception of the character portrayed by
Barbara Read, none of the others awaken any sympathy : —
Alan Marshal, a successful doctor and author, accident-
ally meets Helen Vinson, his old college sweetheart. Both
are married, Marshal to plain Miss Read, and Miss Vinson
to wealthy Patric Knowles. They recall their love affair,
how Marshal had gone to Europe for further study, and
how, upon his return, he had been heartbroken to learn that
Miss Vinson had married some one else. Marshal tells her
that he could not resume the old affair, for he was now
married to Miss Read, whom he loved, although not as
passionately as he had loved Miss Vinson; furthermore,
that Miss Read's life had been one sacrifice just to make
things easy for him. But further meetings weaken them,
and they decide to break all ties with their respective mates
and go away together. Knowles is heartbroken when he
hears the news, for he loved Miss Vinson deeply. They all
gather at Marshal's home, the purpose being to tell Miss
Read. But she, suspecting what was afoot, prevents them
from talking; instead, she tells them how happy her life
with Marshal had been, how she had struggled to help him,
how her baby had died, and other intimate things. This so
touches Marshal's heart that he tells Miss Vinson to forget
everything he had told her, for he would not leave his wife.
Miss Vinson, too, is touched, and decides to stay with
dependable Knowles.
S. K. Lauren wrote the story and screen play, John
Farrow directed it, and Robert Sisk produced it. In the cast
are Hattie Noel, Frank Faylen, and Carol Hughes.
Not for children. Suitable for adolescents and adults.
Class B.
"Henry Goes Arizona" with Frank Morgan
and Virginia Weidler
(MGM, December 8; time, 6Sl/2 min.)
A pleasant program picture. What makes it enjoyable is
not the story, which is pretty thin, but Frank Morgan's
performance. So human and amusing does he appear as the
frightened Easterner who comes up against tough West-
erners, that one feels deep sympathy for him. What would
have been an ordinary part is raised to importance mainly
by his ability. Human appeal is awakened by the friendship
that develops between Morgan and little Virginia Weidler,
who thinks he is a hero. The closing scenes, in which
Morgan single-handed outwits the gangsters and rescues
Virginia, are both exciting and comical : —
Morgan, a down-and-out vaudeville player, learns to his
joy that he had inherited his deceased half-brother's
ranch in Arizona. But when he arrives there, he is fright-
ened when the facts are made known to him — namely, that
his brother had been murdered, that he had been despised
by every one, and that his life was in danger. He goes to the
ranch where he meets little Virginia, who had been adopted
as a niece by the deceased man ; Morgan promises to be her
uncle and care for her. She worships Morgan from the
moment she meets him. Douglas Fowley and another ranch
hand, who had killed Morgan's half-brother in order to
work out a scheme with Porter Hall, the crooked banker,
to gain control of the ranch, work up the neighboring
ranchers to lynch Morgan. But Morgan turns the tables by
appearing to be friendly and offering food to his neighbors ;
this wins them over. Nevertheless, he decides to return
East. Spencer Charters and little Virginia plan to keep
him from leaving; Charters hides Virginia and then tells
Morgan that she had disappeared. By the time he returns
to the ranch, Virginia had actually been kidnapped by
Fowley. Morgan goes after her. He outwits the crooks,
rescues Virginia, and brings about peace with the ranchers.
Not only does he remain on the ranch, but he is elected
Mayor of the town.
W. C. Tuttle wrote the story, and Florence Ryerson and
Milton Meilein, the screen play; Edwin L. Marin directed
it. In the cast are Slim Summcrville, Owen Davis, Jr.,
and others.
Suitability, Class A.
204
HARRISON'S REPORTS
December 23, 1939
There are, however, two other statements of his that I
should like to discuss before disposing of him.
The one concerns me: In the issue of December 9, I
called your attention to the fact that he has been attacking
Warner Bros, during this tour and asked whether his
hostility towards this company was prompted by the fact
that The Independent, his house organ, carries no Warner
Bros, advertising! I did not make a direct statement,
because at that time I did not know ; I merely asked a ques-
tion. Harry took up this subject and denied that absence of
advertising had anything to do with his attacks, but the
fact that the Warner organization had submitted to his
association a selling plan that they declared unfair.
Harry did not make clear what that plan was, and since
I know of no extra-special plan that Gradwell Sears sub-
mits to one group of exhibitors and not to another, I pro-
ceeded to find out. I was told that the Warner Bros, selling
plan is uniform, and has been made known to all exhibitors
by means of trade papers advertisements.
I then looked into the back issues of The Independent to
find out how much advertising Warner Bros, inserted in
that paper this year. Here are the facts :
March 18, eight pages; April 15, twelve pages; May 13,
one page; July 1, one page; September 2, two pages. No
advertisement thereafter. The first editorial blast against
Warner Bros, appeared in the October 28 issue.
Not satisfied with this evidence, I called up Mort Blu-
menstock, in charge of advertising and publicity at the
Home Office, and asked him whether my assumption that
Harry is blasting Warner Bros, has been caused by their
refusal to give him advertising or not and was told that,
sometime in October, Harry Brandt called on him and
asked him how much money they intended to spend in his
paper. When Mort told him that they had made no funds
available for such an item, he went to Major Warner. But
the Major told him the same thing. The next thing they
knew, Mort said, was Harry's October 28 editorial attack,
which has been continued and carried to the highways and
byways of the United States. (He might have employed his
time better if he were to tell us something about the Bronx
operators' strike.)
The second matter that I want to discuss before dis-
posing of him, is his statement to the effect that, about a
month ago, a certain Congressman came to New York and
naturally Harry discussed with him the Neely Bill. He
quotes this Congressman as having said : Why don't you
keep Charlie Petti john away from Washington? He does
more harm than good.
I inquired around to find out who this mysterious Con-
gressman was and learned that perhaps it was Emanuel
Celler, Congressman from Brooklyn. Mr. Celler is law part-
ner of Milton Weissman, who is, in turn, counsel for Harry
Brandt. Since Mr. Brandt had never attacked Mr. Petti-
john on any matter, I am prompted to ask whether Harry
is trying to get Charlie's job on the ground that he can
render a better political service than can Charlie !
Of course, if Charlie wants to hand his job over to Harry
Brandt, or to some one that Harry may be grooming for it,
I have no objection; all I am interested in is Harry's
motives.
You might think that I am a little too hard on Harry by
criticizing him so often. If so, save your sympathy — he does
not need it ; he is smart enough to know that his tactics
cannot help evoking criticism from some people. Besides
the mention of his name in editorials makes him happy —
intoxicates him, so to speak. My motive for dealing with
him so often has been explained to you clearly in the past
two weeks : the Neely Bill will come up very soon in the
House of Representatives and the producers may use him,
instead of Ed. Kuykendall, to oppose the Bill, and I want
you to have a clear picture of where Harry stands.
PICTURES NOW IN PRODUCTION
(Continued from lastzveek)
Editor's Note : The information given in these articles
is to keep you informed of the pictures that arc soon to be
finished and undoubtedly released. The appraisal is based
on the cast except when a synopsis of the story is available.)
Warner Bros.
"VIRGINIA CITY," with Errol Flynn, Miriam Hop-
kins, Randolph Scott, Humphrey Bogart, Allan Hale,
Donald Crisp, Frank McHugh, Guinn Williams, and
others, produced by Robert Fellows and directed by
Michael Curtiz. Since the cast of this picture is strong and
the director capable, it should make a very good box-office
attraction.
Harrison's Reports Offers to the Ii
"WE SHALL MEET AGAIN," with Merle Oberon,
Pat O'Brien, George Brent, Geraldine Fitzgerald, Binnie
Barnes, and others, produced by David Lewis and directed
by Edmund Goulding. Fairly good cast ; director very good.
It should make a fairly good to good box-office attraction.
' AND IT ALL CAME TRUE," with Ann Sheridan,
Jeffrey Lynn, Humphrey Bogart, Zasu Pitts, produced by
David Lewis and directed by Lew Seiler. Fairly good to
good.
Columbia
"THE LONE WOLF STRIKES," with Warren Wil-
liam, Joan Perry, Alan Baxter, Robert Wilcox, Eric Blore,
Montague Love, and others. Program.
' DAUGHTERS OF TODAY," with Rochelle Hudson,
Lula Lane, June Lang, Glenn Ford, Frieda Inescort, pro-
duced by Ralph Cohen, and directed by Nick Grinde:
Program.
"FIVE LITTLE PEPPERS MIDWAY," with Edith
Fellows and others, produced by Jack Feir and directed by
Charles Barton. Program.
"TEXAS EXPRESS," with Charles Starrett, Iris
Meredith, and others. Program.
Metro-Goldwyn-Mayer
"STRANGE CARGO," with Clark Gable, Joan Craw-
ford, Ian Hunter, Peter Lorre, Paul Lukas, J. Edward
Bromberg, Edward Ciannelli, Betty Compson, John Ar-
ledgc, Sara Haden, Paul Fix, Francis MacDonald, Bernard
Nedell and Jack Mulhall, produced by Joseph Mankiewicz,
and directed by Frank Borzage. A formidable cast, with
excellent producer and director. It ought to come out a very
good to excellent box-office attraction.
"NEW MOON," with Jeanette MacDonald, Nelson
Eddy, Dick Purcell, Mary Boland, Buster Keaton, Nat
Pendleton, Grant Mitchell, John Miljan, Nigel Bruce, and
others. Good cast and, with a good story, this musical
should turn out very good. But the story counts a great deal.
"YOUNG TOM EDISON," with Mickey Rooney, Vir-
ginia Weidler, Fay Bainter, George Bancroft, J. M. Kerri-
gan, Eugene Pallette, and others. Produced by John
Considine, Jr., and directed by Norman Taurog. MGM
will, no doubt, pay a great deal of attention to the story for
this picture. Consequently it should turn out either very
good or excellent.
"AROUSE AND BEWARE," with Wallace Beery,
John Howard, Dolores del Rio, John Wray, Victor Var-
coni, Frank Thomas, Francis Ford, Howard Hickman,
H. B. Warner, and others, produced by Edward Chodorov,
and directed by Leslie Fenton. Good cast. The picture
should turn out good, and perhaps very good.
"I TAKE THIS WOMAN," with Spencer Tracy, Hedy
Lamarr, Kent Taylor, Veree Teasdale, and others, pro-
duced and directed by W. S. Van Dyke. This picture was
made a long time ago and shelved because of its poor qual-
ity; it is, therefore, difficult to predict what the final out-
come will be after the "doctoring" by Mr. Van Dyke is
completed.
Paramount
"THE WAY OF ALL FLESH," with Akitn Tamiroff,
William Henry, Gladys George, Jean Cagney, Berton
Churchill, and others, produced by Eugene Zukor, and di-
rected by Louis King. Paramount produced this story once
before, in 1927, as a silent picture, with Emil Jannings, very
popular at that time. It made a big hit. Whether the story
is as well suited for a talking picture is hard to tell. In all
probability it will make a pretty good picture.
"GOLDEN GLOVES," with Jean Cagney, Robert Ryan
and other unknown players, produced by William C.
Thomas and directed by Edward Dmytryk. Program, for a
double bill.
United Artists
In appraising last week "House Across the Bay,"
under the heading "Pictures Now in Production," I said
that it is an unhappy story, the knd that can hardly make a
happy picture unless altered radically. United Artists has
informed me that my appraisal must have been based on an
older synopsis, because the ending has been altered con-
siderably.
Another appraisal was made of this story in the June 17
issue. At that time a synopsis was given. In that synopsis,
the hero-husband, a racketeer, is shown as having killed his
lawyer. In the revamped story, he kills an informer. The
new ending is considerably better than the old ending, in
that the lawyer is not shown double-crossing him. Never-
theless it is still an unhappy picture.
( To be continued next week)
•USTRY THE GREETINGS OF THE SEASON
Entered AS seeond-clasa matter January 4, 1921. at the post office at New York, New York, under the act of March 3, 1879.
Harrison's Reports
Yearly Subscription Rates: 1270 SIXTH AVENUE Published Weekly by
United States $15.00 R««m Harrison's Reports, Inc.,
U. S. Insular Possessions. 16.50 KOOm lOliS Publisher
Canada . . 16.50 New York, N. Y. P. S. HARRISON, Editor
Mexico, Cuba, Spain 16.50 . „, , _ *
Great Britain 15 75 A Motlon Picture Reviewing Service
Australia, New Zealand, Devoted Chiefly to the Interests of the Exhibitors Established July 1, 1919
India, Europe, Asia 17.50 ,. , , _ ,. „ ~ „
"^n a rnnv Its Edlt°r'al Policy: No Problem Too Big for Its Editorial Circle 7-462"
ooc a ^opy Columns, if It is to Benefit the Exhibitor.
A REVIEWING SERVICE FREE FROM THE INFLUENCE OF FILM ADVERTISING
Vol. XXI SATURDAY, DECEMBER 30, 1939 No. 52
LET CONGRESS KNOW!
Under the heading, "Haysites, Independent and Chain
Exhibitors Combine in a General Industry Drive to Brush
Off Neely Bill," the December 20th issue of Variety in-
forms the industry that, under the guidance of Motion
Picture Producers and Distributors Association (the Hays
office) there has been organized and is now in full swing a
vast campaign the object of which is to prevent the passage
of the Neely Bill through the House of Representatives.
The Drive, says Variety, is semi-educational in nature,
the concern of its directors being to acquaint the film sales-
men with, not the block-booking and blind-selling provi-
sions of the Bill, but its penalty features, under which these
salesmen, they assert, are liable criminally.
That the campaign is in full swing there is not the least
doubt. Two weeks ago, Mr. Charles C. Petti john, of the
Hays office, addressed the members of A.M.P.A. (Asso-
ciation of Motion Picture Advertisers), who are either
employees (in the main) of motion picture producers, or
doing business with such producers, and, after castigating
the Bill, recommend that a committee be appointed to co-
ordinate the efforts of the opponents of the Bill, a recom-
mendation which the president of the organization accepted
at once and acted on it; and, for the last month or so,
emissaries of the producers have been touring the country
in an effort to create sentiment against the Bill. These
emissaries have been bold in making known their plans of
causing at least one million letters to be sent to the different
members of the House of Represetatives. The scheme is to
have all those whom they have frightened into believing
that the passage of the Bill will put them out of business
call upon their grocers, their shoe-store owners, their
bankers, their bakers and others and, by leading them to
believe that, if the Bill should become a law, they would
lose their jobs, induce each of them to urge at least five of
his friends to write to their Congressmen advising the
defeat of the Neely Bill.
To the best of my information, neither Petti john nor die
other emissaries dwelt upon the fact that the synopsis re-
quirements of the Bill that has been passed by the Senate
is not the same provision that was contained in the original
draft, and that the reformed provision grants a greater lat-
itude to the producer, for if they had made this fact known
to the trade they would not be able to frighten some of the
exhibitors into taking the action that the producer emis-
saries suggest.
But let me call your attention to one thing : through all
these years during which your leaders have been fighting
for the outlawing of block-booking and blind-selling by a
Federal statute, not once have the producers come forward
with a constructive suggestion. They have complained all
along that a law such as Senator Neely has proposed would
put them out of business, but, instead of pointing out how
the Bill could be improved so as to effect the reforms
needed without harming them, they have remained .silent.
Instead, they elected to employ all their energies toward
the defeat of such a law, resorting to all kind of expedients
to succeed in their efforts. Why? Simply because they do
not want to see their monopolistic grip on the motion
picture industry in any way loosened. That is the real
reason I
The duty of the leaders of Allied States Association of
Motion Picture Exhibitors is plain, and urgent: they
•hould take immediate steps to acquaint every member of
the House of Representatives, as well as every Senator,
that the avalanche of letters against the Neely Bill, which
they may now be receiving or are about to receive, is the
result, not of the spontaneous outburst of the sentiments on
the part of the writers of these letters, but of a well designed
and well executed propaganda campaign, set into motiun
by the motion picture producers. If among the writers of
such letters should happen to be some independent theatre
owners, these leaders should let the nation's lawmakers
know that these have been terrorized by the producers into
taking such an action by the false propaganda that has been
fed to them. The Allied leaders should not be content to
depend alone on the resentment that "Mr. Smith Goes to
Washington" has created in Washington for the passage of
the Bill through the House of Representatives ; they should,
in addition, expose the frantic efforts the producers are
making to defeat the Neely Bill and thus perpetuate their
monopoly.
A FINE SERMON!
In the October 14 issue of his Hollywood Spectator,
Wealford Beaton says in an opening editorial, under the
heading, "Are Good Stories Hard to Find?":
"One day last week I sat in the office of a Master Pro-
ducer and listened to his troubles. He did not touch on those
initiated by Congress and the Department of Justice. Our
conversation was on a higher plane, dealing principally with
the film industry's source of raw material — stories. My
friend acknowledged the box-office was in a bad state and
expressed his belief that it would become worse, because —
of all things ! — it was almost impossible to get enough good
stories to provide for a steady output of high-grade prod-
uct. His readers, he said, had not uncovered a good book in
months of reading, and the New York stage was offering
nothing wordi while. 'When books and plays — our chief
source of supply — fail us,' he wailed, 'what arc we going
to do ?'
"The studio this producer heads, has in dusty files enougli
story material to keep it going for a decade, but I did not
tell him that. I let him do all the talking and contented
myself with listening and smoking one of his sixty-cent
cigars.
"There never has been a story shortage. There are
enough unwritten ones to supply the industry for a century.
The screen thus far has used up only hurricanes, earth-
quakes, fires, murders, divorces, gangsters and other purely
physical manifestations, has overdone to the point of ex-
haustion the material aspects of our way of living. Atid it
has exhausted its ability to put more money on the screen,
to present bigger and more expensive productions to stun
us into believing they are what wc want.
"There are so many big things happening in the world
today, so much sorrow on a gigantic scale, so many world*
shaking manifestations of the beastly side of man, we would
welcome the escape from them which the screen could pro-
vide. Instead of our being chilled by the recreation on the
screen of variations of the strife and sorrow which fill our
(Continued on last page)
206
HARRISON'S REPORTS
December 30, 1939
"Raffles" with David Niven
and Olivia deHavilland
(United Artists, December 29; time, 70 mitt.)
Just a fair melodrama. When this was last produced
in 1930, with Ronald Colman as the star, it was pretty-
exciting entertainment. But the standards of screen
fare have changed since then, and so, what was exciting
in 1930, is now just another melodrama. The production
values are good, and the acting fairly capable. It is just
that the story does not stand up. There are one or two
exciting situations, but for the most part the action is
slightly draggy. There is a romance. The action takes
place in London: —
David Niven, unknown to his society friends or to
the girl (Olivia deHavilland) he loved, is an amateur
crook. Once he confesses his love to Miss deHavilland
he decides to go straight. They both are invited to
spend the week-end at the palatial home of a titled lady
(Dame May Whitty). Miss deHavilland's brother also
is there. He confesses to Niven that he was badly in
need of money to cover gambling debts. Not having
the money himself, Niven decides to steal Dame
Whitty's famous emerald necklace. But he does not
find it necessary to do so, for the robbery of the neck-
lace had been planned by another crook. Niven traps
him, steals the necklace from him, and then knocks him
out. But the crook had caught a glimpse of the wrist-
watch worn by Niven, and in that way is able to iden-
tify him later. Dudley Digges, a Scotland Yard inspec-
tor, who had stationed himself at the house to protect
the necklace and at the same time catch "The Ama-
teur Crook," arrests the intruder, but knows that he
was not the man he wanted. He suspects that Niven
is the crook; when Niven leaves for town, Digges fol-
lows him. He purposely sets his prisoner free so as to
follow him, and sure enough he arrives at Niven's
apartment. Niven arranges matters so that Miss de
Havilland's brother returns the necklace and obtains
the reward. He confesses his identity to Digges, and
promises to give himself up that evening. Miss de
Havilland tells Niven that what he had done does not
matter to her for she loved him.
E. W. Harming wrote the story, and John Van
Druten and Sidney Howard, the screen play; Sam
Wood directed it, and Samuel Goldwyn produced it.
In the cast are Douglas Walton, Lionel Pape, E. E.
Clive, and others.
Not for children. Suitable for adults and adolescents.
Class B.
"The Secret Four" with Frank Lawton
and Anna Lee
(Monogram, January 15 ; time, 73 min.)
This British-made espionage melodrama is pretty
good program entertainment for the action fans. Al-
though a few situations are pretty far-fetched, the
story, for the most part, is interesting and exciting,
holding one's attention well. Furthermore, the produc-
tion values are good, and the performances convincing.
A romance is worked into the plot without in any way
retarding the action: —
Four men (Hugh Sinclair, Griffith Jones, Francis L.
Sullivan, and Frank Lawton) labeled as the "Four Just
Men," but whose identities were unknown to any one,
do secret work on behalf of their government, without
government authority. They learn that confidential in-
formation was leaking out from the Foreign office, and
that a foreign conspiracy was on foot to destroy the
British nation. Lawton goes to the near cast to work
on the case, while the other three stay at home continu-
ing the investigation. They discover that the informa-
tion was sold by Lydia Sherwood, wife of a trusted
government official, to Basil Sydney, who paid large
sums of money for it; moreover, that Sydney was her
lover. Realizing that she had been found out, Miss Sher-
wood rushes to Sydney for protection. He kills her by
throwing her down the elevator shaft. In the meantime,
Anna Lee, a young newspaper reporter, accidentally
comes upon certain facts. She and Jones fall in love
with each other, but, since he could not disclose his
identity to her, she suspects him of being a criminal.
Lawton returns with news that the Suez Canal was to
be blocked and that action was imperative. Lawton is
killed by Sydney. Realizing that the main plotter
against the government was Alan Napier, a titled mem-
ber of Parliament, the remaining three contrive to bring
about his death. Sinclair, disguised as the dead man,
makes a speech in Parliament, warning the members of
the danger to their country. Action is taken imme-
diately. When the truth becomes known, the "Four Just
Men" are hailed as heroes. Miss Lee and Jones are
united.
Angus MacPail, Sergei Nolbandov, and Roland
Pertwee wrote the screen play, Walter Forde directed
it, and Michael Balcon produced it. In the cast are
Edward Chapman, Athole Stewart, and others.
Not for children. Suitable for adolescents and adults.
Class B.
"Gulliver's Travels" a technicolor
cartoon feature
(Paramount, December 22; time, 76 min.)
Delightful entertainment. The material lends itself
perfectly to cartoon work, for it is mostly comic. It is
"grand" entertainment for children, since there is noth-
ing in it to frighten them; and adults, too, should enjoy
it, for the action is fast, the ideas ingenious, and the
material comical; and there is plentiful music. "Gabby,"
Town Crier of Lilliput, is the outstanding character,
for he appears throughout giving orders and in general
running things. But there are other characters who
charm one, such as "King Little" and "King Bombo,"
while the three spies "Sneak, Snoop, and Snitch" amuse
one. The fame of the book should insure good box-
office results.
The story covers one part of Lemuel Gulliver's ad-
ventures, that is, his meeting with the Lilliputians.
Having been shipwrecked, he swims to an island, where
he falls into an exhausted sleep. Gabby, the town crier
on the island, whose inhabitants were not more than
six inches high, is horrified when he spies on the
beach Gulliver, who, compared with his size, was a
giant. He speeds back to town to warn the populace.
King Little orders Gabby to bring the giant to the
palace. And so Gabby sets out with the brave men of
the island; after working extremely hard, they bind
the giant and bring him to the palace. But Gulliver
awakens and naturally casts off the ropes. Everyone
rushes for shelter. But he convinces them that he was
a friend, not an enemy. In the meantime, trouble was
brewing! King Little and King Bombo, whose children
were to marry, had had an argument about the song
to be sung at the wedding. As a result, the wedding had
been called off and war had been declared. But Gulli-
ver prevents a war, brings them to their senses,
and arranges the marriage. He later takes leave of the
Lilliputians, having built a boat big enough to take him
back to his own homeland.
The plot was adapted from the story by Jonathan
Swift. Dan Gordon, Cal Howard, Ted Pierce, I. Spar-
ber, and Edmond Seward wrote the screen play. Dave
Fleischer directed it, and Max Fleischer produced it.
The singing voice of the Princess is Jessica Drago-
nette's, and of the Prince, Lanny Ross'.
Suitability, Class A.
December 30, 1939
HARRISON'S REPORTS
207
"Gone With the Wind" with Clark Gable
and Vivien Leigh
(MGM, Rel. date not set; time, 3 hrs. and 45 mm.)
This picture should prove to be one of the greatest
money-making attractions in the history of the indus-
try. There is a ready-made audience of millions, who
have read the novel, eagerly waiting to see it; and
certainly enough excitement has been whipped up to
arouse the interest even of those who have not read the
book.
The readers of the novel should be thrilled, for the
picture follows the book closely; and so expertly has
been the casting that the characters appear just as one
had imagined them.
The massiveness of the sets, which are enhanced by
the technicolor photography, impresses one with the
fact that millions of dollars had gone into its making.
Technically it is tremendous. As for the acting, it is
doubtful if any one else could have given as expert a per-
formance as has been given by Vivien Leigh; she makes
the character of "Scarlett O'Hara" so real, so inter-
esting and exciting, that one follows her actions with
the utmost of interest.
For all the picture's virtues, it has, however, some
faults: for one thing, it is too long. The first half is
excellent — all the excitement and thrills are contained
therein. In comparison with this, the second half drags
a little, since it is devoted to the private lives of the
characters; this half could certainly benefit by some
judicious cutting.
Yet for all its opulence, it does not stir the emotions
as deeply as it should. The reason may be due to the
fact that the two leading characters are strong, some-
what selfish, and even unscrupulous; one feels as if they
can always take care of themselves, and so one does
not either pity them or fear for their fate. On that
score alone it cannot be compared favorably with "The
Birth of a Nation."
The story follows the events in the life of "Scarlett
O'Hara" from the beginning of the Civil War. She had
been reared in a wealthy home, accustomed to luxuries
and attention. Her first great disappointment came
when she learned that Ashley Wilkes (Leslie Howard),
whom she loved, was going to marry his cousin Melanie
(Olivia deHavilland). The war, with all its horror,
found her family stripped of its wealth, the plantation
ruined, and friends gone. But Scarlett's indomitable
spirit would not permit her to give up. Her first mar-
riage had been made just to spite Ashley; her husband
died in the war. Her second marriage was one of con-
venience, for she needed money to pay the taxes on the
family plantation, which she was determined to save.
Her second husband died fighting to protect her honor.
In the meantime, Rhett Butler (Clark Gable), a cynical
man-about-town, who did not hesitate to make millions
in war profits, and who had always loved Scarlett,
proposes, and this time is accepted. He gives his wife
every luxury, but she could not forget Ashley. This
tortures Rhett. Their one child, whom Rhett adored,
dies in an accident. A few days later Melanie dies. It is
then that Scarlett learns that Ashley had always loved
his own wife and not her. Since the news did not hurt
her, she realized that she really loved Rhett. But it is
too late, for Rhett's patience had given out; he leaves
her. But she thinks of schemes to win him back.
The plot was adapted from the novel by Margaret
Mitchell. Sidney Howard wrote the screen play, Victor
Fleming directed it, and David O. Selznick produced it.
In the cast are Hattie McDaniel, Thomas Mitchell
Oscar Polk, Barbara O'Neil, Victor Jory, Ann Ruther-
ford. Harry Davenport, and many others.
The second half is pretty adult in its approach to sex
problems, and is a little too suggestive for children.
Moral suitability. Class B.
"The Light That Failed"
with Ronald Colman
(Paramount, Rel, date not set; 9Sy2 min.)
Drab and dreary. The hero awakens, not sympathy,
but pity. As a result, one follows his fate reluctantly.
There is nothing cheering in the story; the hero is
"condemned" to blindness without any hope of cure.
The story was put into pictures twice before; the first
time, in 1916, by Pathe — it made a fair box-office suc-
cess; the second time in 1923, by Paramount itself,
with poor box office results. In producing it the third
time, Paramount no doubt hoped to capitalize on the
death of the author; but it is doubtful if this will help,
because of the cheerlessness of the picture.
The story deals wtih a hero, an artist (Ronald Col-
man), who, because of an injury to his eyes as a result
of a sudden flash when he was still a boy, eventually
goes blind. While in Sudan with Walter Houston, a
war correspondent with the British Army, Ronald re-
ceives on the head a blow that was intended for Hous-
ton. The blow affects his optic nerve, already weak,
and he begins to feel his eyesight going. He returns to
London and keeps on painting pictures. Since the war
was over, Houston had returned, and the two were
living together. But just after he finished the picture
of the girl he loved ever since childhood, he goes blind.
Walter informs her of his affliction and she returns to
him, but Ronald would not have her because of his
condition. War had again broken out in Sudan and
Houston went there as war correspondent. Ronald
follows him and is shot and killed just as he had
reached the lines.
The picture was produced and directed by William
Wellman, from a screen play by Robert Carson. In the
cast are Muriel Angelus, Ida Lupino, and others.
Suitability, Class A.
"High School" with Jane Withers
(20th Century-Fox, January 26; time, 74 mm.)
This is one of Jane Withers' better pictures. Although
the story is routine, it has plentiful action and comedy,
and should find favor with the younger crowd. Jane
receives capable assistance from a newcomer, Joe
Brown, Jr., a young man, who, although not good-look-
ing, is appealing because of his simple manner. The
closing scenes, in which a gang of young boys and
girls, led by Jane, battle against crooks, are pretty
exciting and laugh-provoking: —
Jane, who lived on a ranch with her father, develops
into a tom-boy. Her father, feeling that it was time for
her to learn the ways of a lady, sends her to Texas to
his brother, a high school principal, for supervision
and training. At first, Jane sneers at the other children,
for she knew more and could do more than any one of
them. Joe, who was the leading football player, de-
velops a "crush" on Jane, but she snubs him. Knowing
that Joe would not be permitted to play unless his
school-marks improved, the other pupils, during an
oral examination, pretend not to be able to answer
questions so as to make it appear as if the test was too
difficult, in that way preventing Joe from appearing as
the only stupid one. Not knowing about the scheme,
Jane answers all the questions. For this, the other pupils
snub her and blackball her from joining the most de-
sirable club at school. Jane is heartbroken and prepares
to leave. But her uncle dares her to stay. She does, and
takes Joe under her wing; she trains him so well that
he passes his tests. When she later shows courage in
escaping from crooks, getting together all the school
children to save Joe, who was being held a prisoner,
the pupils change their feelings towards her.
The plot was adapted from a story idea by Robert
Ellis and Helen Logan. Jack Jungmeyer, Edith
Skouras. and Harold Tarshis wrote the screen play,
George Nicholls, Jr.. directed it, and John Stone pro-
duced it. In the cast are Cliff Edwards, Lloyd Corrigan,
Lynn Roberts. Paul Harvey, and others.
Suitability, Class A.
208
HARRISON'S REPORTS
December 30, 1939
daily papers, of the complications with which civilization is
struggling, we would prefer something of a more soothing
nature when film theatre doors close behind us and shut out
the troubled world.
"As long as a girl can go hand-in-hand with a boy down
a country lane, as long as mothers croon over babies, as
long as grandparents sit side by side and gaze at a burning
log in their sitting-room grate, as long as flowers bloom,
trees yield to a summer breeze, brooks murmur, birds sing —
as long as normal humans do human things and nature
pursues her normal way, there will be a million stories
which can be written for the screen.
"There are enough writers on studio payrolls now to
supply producers with all the stories they can use. The
trouble with producers is that only a small fraction of them
can recognize a story when they read one. They can under-
stand a cyclone or a murder, but cannot recognize the story
value of a father's gesture when he pats approvingly the
shoulder of his son, a gesture which, in its proper place in
a story, can have greater impact on the emotions of an
audience than the earthquake had in 'San Francisco.' When
Hollywood's real picture-makers are allowed to make the
pictures, there will be no more fussing about a shortage of
story material."
I don't know whether or not Mr. Beaton realized that,
when he was writing this editorial, he was writing a fine
sermon; that is how it struck me — he expresses in it fine
sentiments, the kind with which every producer should be
imbued if he would hope to make pictures that will move
audiences. Unfortunately, his fine words will have on pro-
ducers the same effect as that of water poured upon a duck's
back: the system in Hollywood is such that the soundest
advice is lost.
For instance, one of the fine, ambitious young writers —
the one hundred dollar a week man — writes a fine story. It
it naturally submitted to the boss. But because the boss
knows nothing about story values, he naturally refers it to
one of his highly-paid writers — and he has many of such
writers on his staff. Now, what do you think that writer
will do? Will he allow a young whipper-snapper to show
him up ? No ! — of course, not. He will take that story and
so alter it that, by the time he gets through with it, its own
father, or mother, whatever the case may be, will fail to
recognize it.
If that story should happen to pass through the hands of
that writer with few changes, then comes the unit producer ;
he, too, must show that he has wisdom. Otherwise he could
not justify the salary he is getting.
But how about the "Big shot" director? He, too, must
show that he is earning the salary he gets. Consequently,
he must make his own changes.
The system naturally discourages the young writers, for
they feel that they cannot break it down, and they give up
trying to conceive good stories, stories with original situa-
tions, being content to appear keeping busy so as to draw
their salaries. Do you see, now, how atrocious stories are
put into pictures nowadays, stories that arouse the derision
of the audiences ?
Just to show you how right is Mr. Beaton when he men-
tions about the effect that a father's patting his son on the
shoulder has, let me make this comparison. A father's pat,
when done merely to show the natural pride of a father for
his son, will not have much effect beyond the natural satis-
faction a person feels when he sees father and son on inti-
mate terms, but let the situation be as follows : The son had
been saving his nickels and dimes for a year, for the purpose
of buying something he had set his mind on. The father
suddenly meets with a misfortune. The son hears of it, goes
to his father, and puts his savings in his hand. The father at
first refuses to accept the money ; but the son tells him that
he would be the most unhappy boy in the world if his father
would not accept from him that little sacrifice. The father's
eyes glisten, and he puts his arms around his boy's shoulder
and squeezes him. Do you see the difference between the
one pat and the other? That is what Mr. Beaton calls "the
proper place in the story." It is not the act itself so much,
but what leads up to it that makes the act effective.
Incidentally Mr. Beaton is the one writer who has been
trying to induce the producers, ever since talking pictures
came, to go back to making moving pictures instead of the
present garrulous, gabby stage imitations. But he has an
uphill fight, for the influence of the stage is so intrenched in
the editorial departments of the Hollywood studios that,
unless a miracle happens, the picture makers will continue
to unfold the action more by words and less by moving
photographic shadows.
MARTIN STARR HEADS A.M.P.A.
COMMITTEE
Mr. Martin Starr, the well-known radio commentator,
connected with the WMCA broadcasting station, of New
York, has been appointed by the president of A.M.P.A.
(Association of Motion Picture Advertisers), to head the
committee that is to coordinate the efforts of the opponents
of the Neely Bill.
Mr. Starr is known in the industry very well. He is a
capable person, and able to do the work for which he has
been assigned. The fact that he has been appointed to the
job is an acknowledgment of his capabilities.
Mr. Starr's appointment, however, is in itself an admis-
sion that, among the members of the A.M.P.A., many of
which are paid highly, there is not one of them who could
do the work as effectively as can Mr. Starr.
Is the motion picture industry paying its publicity experts
too much ? *Starr was the last editor of HARRISON'S
— REPORTS.
PICTURES NOW IN PRODUCTION
(Continued from last ivcck)
RKO (Radio) Pictures
"MY FAVORITE WIFE," with Irene Dunne, Cary
Grant, Randolph Scott, Gail Patrick, Scotty Beckett, and
Mary Lou Harrington, produced by Leo McCarey, and
directed by Garson Kanin. A strong cast, with a first-class
producer, and a first-class director. The picture should turn
out either very good or excellent.
"LITTLE ORVIE," with Edward Ellis, Johnny Shef-
field, Ernest Truex, Ann Todd, and others, produced by
Wiliiam Sistron and directed by Ray McCarey. The plot
has been founded on the Booth Tarkington novel, dealing
with boys and their good and their bad qualities, but it is
human. A good to very good program picture.
"BILL OF DIVORCEMENT," with Maureen O'Hara,
Adolphe Menjou, Fay Bainter, Patric Knowles, Dame May
Whitty, C. Aubrey Smith, and others, produced by Robert
Sisk, and directed by John Farrow. This picture is a re-
make ; it was produced by RKO in 1932, with Katharine
Hepburn and John Barrymore. It was the picture that
brought out Miss Hepburn as a screen star. The plot has
been founded on the Clement Dane stage play; it deals with
a heroine who married the hero out of pity rather than
love ; he had been shell shocked in the war. This had caused
his derangement and, for fifteen years, he had been enclosed
in an insane asylum. In the meantime the heroine had
divorced him and was about to marry another man. Her
daughter, too, was engaged to marry but her hopes are
shattered when she learns that there was a strain of insanity
in the family. The hero, cured, escapes from the asylum and
returns home. The daughter, telling her fiance the truth
about her family, breaks her engagement with him. The
hero, realizing that his wife did not love him, lets her go
away with the man she loved. Father and daughter remain
together, consoling each other in their grief.
The story material is powerful, but its strain is unpleasant
— one may even say repellant, for no one relishes insanity
dealings in one's entertainment. No doubt alterations have
been made in the plot, but unless these are radical, eliminat-
ing insanity from the story, the picture may turn out
powerful but hardly a pleasant entertainment.
"GLAMOUR BOY No. 2," with Joe Penner, Linda
Hayes, Dick Lane, and others, produced by Robert Sisk,
and directed by Les Goodwins. Program, its value to an
exhibitor's box office depending on Penner's drawing
powers.
Scanned from the collection of the
Karl Thiede
Coordinated by the
Media History Digital Library
www. mediahistoryproj ect . org
Funded by a donation from
Matthew Bernstein
Live Music
Archive
Librivox
Free Audio
Metropolitan Museum
Cleveland
Museum of Art
Internet
Arcade
Console Living Room
Open Library
American
Libraries
TV News
Understanding
9/11